Under the Roofs of Paris


1h 36m 1930
Under the Roofs of Paris

Brief Synopsis

A street singer and a gangster vie for the love of a beautiful young woman.

Film Details

Also Known As
Sous les toits de Paris
Genre
Comedy
Romance
Drama
Foreign
Release Date
1930
Production Company
Tobis Film

Technical Specs

Duration
1h 36m
Sound
Mono
Color
Black and White

Synopsis

A street singer and a gangster vie for the love of a beautiful young woman.

Film Details

Also Known As
Sous les toits de Paris
Genre
Comedy
Romance
Drama
Foreign
Release Date
1930
Production Company
Tobis Film

Technical Specs

Duration
1h 36m
Sound
Mono
Color
Black and White

Articles

Under the Roofs of Paris


French director Rene Clair was not enthusiastic about the addition of sound to film, fearing the certain domination of "all talking" pictures in audience's hearts as a "dreadful prophecy". (The leaden dramas full of chatty actors and immobile cameras that were the staple of early American sound film only confirmed his fears.) But, upon realizing that embracing sound did not mean rejecting the rich visual language silent film had already developed, he breathed astonishing life into a simple story about a street entertainer (Albert Préjean) who falls for a Roma beauty (Pola Illéry), only to find her other suitors include a criminal (Gaston Modot, later of other French classics like L'Age d'Or (1930) and Children Of Paradise (1945)) and his own best friend (Edmond T. Gréville, who later directed Josephine Baker in Princess Tam-Tam (1935)). With plenty of street noise, Victrola music, and trains rushing by to sweeten a mostly noiseless world, Clair's camera is free to float and linger on this delicate, bittersweet story.

By Violet LeVoit
Under The Roofs Of Paris

Under the Roofs of Paris

French director Rene Clair was not enthusiastic about the addition of sound to film, fearing the certain domination of "all talking" pictures in audience's hearts as a "dreadful prophecy". (The leaden dramas full of chatty actors and immobile cameras that were the staple of early American sound film only confirmed his fears.) But, upon realizing that embracing sound did not mean rejecting the rich visual language silent film had already developed, he breathed astonishing life into a simple story about a street entertainer (Albert Préjean) who falls for a Roma beauty (Pola Illéry), only to find her other suitors include a criminal (Gaston Modot, later of other French classics like L'Age d'Or (1930) and Children Of Paradise (1945)) and his own best friend (Edmond T. Gréville, who later directed Josephine Baker in Princess Tam-Tam (1935)). With plenty of street noise, Victrola music, and trains rushing by to sweeten a mostly noiseless world, Clair's camera is free to float and linger on this delicate, bittersweet story. By Violet LeVoit

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