The fourth in a short series celebrating the films of the Pathé-Natan company, 1926-1934.
Apart from the innovative films of Gremillon and Ozep, and the super-epics of Raymond Bernard (available from Criterion), Pathé-Natan produced a lot of slick commercial properties decorated with much the same kind of melodrama and glamor as Hollywood movies of the era.
L'équipage (1935) was one of the last Pathé-Natan productions before the studio went bankrupt amid charges of swindling and mismanagement, and they spent lavishly on it. By now, the influx of German talent that had contributed much to the style of French cinema had become a massive flood, as the Nazis had banned Jews from working in cinema. A talent exodus resulted, and Paris was the first stop for nearly everybody. And so Anatole Litvak, eventually bound for Hollywood, pitched up in the City of Light, where, for instance, he made Mayerling...
Apart from the innovative films of Gremillon and Ozep, and the super-epics of Raymond Bernard (available from Criterion), Pathé-Natan produced a lot of slick commercial properties decorated with much the same kind of melodrama and glamor as Hollywood movies of the era.
L'équipage (1935) was one of the last Pathé-Natan productions before the studio went bankrupt amid charges of swindling and mismanagement, and they spent lavishly on it. By now, the influx of German talent that had contributed much to the style of French cinema had become a massive flood, as the Nazis had banned Jews from working in cinema. A talent exodus resulted, and Paris was the first stop for nearly everybody. And so Anatole Litvak, eventually bound for Hollywood, pitched up in the City of Light, where, for instance, he made Mayerling...
- 3/29/2012
- MUBI
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