The New Biographical Dictionary of Film: Completely Updated And Expanded

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ParisNo other French screen actor seemed to the French to embody so many of their admirable characteristics. Like the best American actors, Gabin was subdued out of strength, a knowing listener more than a speaker, anticipatory rather than active. Although in his last years he represented the enduring appeal of a rather stolid bourgeois, in the late 1930s Gabin was the perfect expression of a working-class figure, hating his squalid environment—in factory or lodgings—but drawn toward a dangerous...ly innocent woman and consequent fatal violence as the only means to dignity.It is a theme returned to in Pierrot le Fou, and that is what André Bazin saw in Gabin’s alleged insistence on a death scene in his films: “So Gabin was quite right in demanding of his scriptwriters a crisis scene of homicidal fury. It constitutes the significant moment in a rigid destiny where the spectator recognizes the same hero in film after film—a hero of the sprawling metropolis, a suburban, working-class Thebes where the gods take the form of the blind but equally transcendent imperatives of society.”

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