The king of Paris, in this 1930 theater season, is the illustrious actor, Victor Derval. He reigns on the Boulevard. Established at the top of the bill for ten years, he has become one of the most courted figures in the Paris smart set. Derval has a son, Paul, who lives on the top floor of his mansion, under the attic. At 20 years old, the young man is a tortured soul who feels a mixture of fascination and contempt for his father he hardly knows.
This is essentially a showcase for Philippe Noiret , a monstre sacré of the silver screen ,portraying a thespian of a time when, as there was no TV ,stage (with a strong contender with the beginning of the talkies in the theaters ) made them the kings of Paris; in the thirties, Jules Berry, Sacha Guitry, Raimu ,Victor Francen, and Harry Baur would perform on stage as well ;but little by little, mainly after the coming of Jean Gabin, the most famous actors were mainly these of the seventh art
Victor Derval dominates the French scene ;his smugness, his pride know no bounds;surrounded by parasites and base flatterers , selfish and egocentric , he engulfes everything and everyone, including his son , a would be anarchist who does not disdain his dad's largesse and luxury though.
When Derval Sr woos a young actress and wants to be her pygmalion, Derval Jr covets her too ,and the press laughs behind their back and talks about a "ménage à trois"
Even after the tragedy ,the show must go on but when he performs with his new partner , much make-up does not conceal the aging face of an actor getting old (the close shots are revealing)The screenwriters avoid to lead the story into "a star is born " territory though.
Manuel Blanc (the son) is a talented actor who had just shone in Deray's "un crime" and is up to scratch opposite the legendary principal; this is the first of the two theatrically released works by former critic Dominique Maillet.
Dedicated to Max Ophuls.
This is essentially a showcase for Philippe Noiret , a monstre sacré of the silver screen ,portraying a thespian of a time when, as there was no TV ,stage (with a strong contender with the beginning of the talkies in the theaters ) made them the kings of Paris; in the thirties, Jules Berry, Sacha Guitry, Raimu ,Victor Francen, and Harry Baur would perform on stage as well ;but little by little, mainly after the coming of Jean Gabin, the most famous actors were mainly these of the seventh art
Victor Derval dominates the French scene ;his smugness, his pride know no bounds;surrounded by parasites and base flatterers , selfish and egocentric , he engulfes everything and everyone, including his son , a would be anarchist who does not disdain his dad's largesse and luxury though.
When Derval Sr woos a young actress and wants to be her pygmalion, Derval Jr covets her too ,and the press laughs behind their back and talks about a "ménage à trois"
Even after the tragedy ,the show must go on but when he performs with his new partner , much make-up does not conceal the aging face of an actor getting old (the close shots are revealing)The screenwriters avoid to lead the story into "a star is born " territory though.
Manuel Blanc (the son) is a talented actor who had just shone in Deray's "un crime" and is up to scratch opposite the legendary principal; this is the first of the two theatrically released works by former critic Dominique Maillet.
Dedicated to Max Ophuls.
