Under the Roofs of Paris (1930)
- General info
- Available formats
- Synopsis:
- Albert is smitten for Pola but ends up wrongly committed in jail, in the meantime her affections are sort after by his friend, and on his release both love and friendship must be tested.
- Actors:
- Albert Préjean, Pola Illéry, Edmond T. Gréville, Bill Bocket, Gaston Modot, Raymond Aimos, Thomy Bourdelle, Paul Ollivier, Jane Pierson
- Directors:
- René Clair
- Writers:
- René Clair
- Aka:
- Sous les toits de Paris
- Genres:
- Classics, Comedy, Drama, Music & Musicals, Romance
- Collections:
- A Brief History of French Poetic Realism, A Brief History of Film..., The Instant Expert's Guide, The Instant Expert's Guide to: Éric Rohmer
- Countries:
- France
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Reviews (1) of Under the Roofs of Paris
Imaginative Musical. - Under the Roofs of Paris review by Steve
Sentimental musical melodrama set among the colourful inhabitants of the Parisian demi-monde. It's make-believe, but René Clair creates such a rich atmosphere with the wonderful studio sets, costumes and expressionist lighting that it's how we come to imagine Paris between the wars, courtesy of the nostalgia of cinema.
A street singer (Albert Préjean) seeks romance with a penniless immigrant (Pola Illéry) but fate conspires against him. The triangle is completed by Edmond Gréville, who film buffs will know as a director of B features in UK after WWII. There's a lot of underworld malarky with a gangster and a pickpocket, which facilitates a highly stylised portrayal of life on the streets.
Clair became a success in Hollywood, usually making ambient pictures like this. There is a peculiar impression of the talkie era arriving during production. It fluctuates between sound and silent approaches. The soundtrack is mainly for songs, including the guileless singalong waltz of the title, naturally played on accordion.
The director's use of crane shots is prominent, and his mastery of montage. The camera sweeps us from the rooftops of Paris and down to the gutter. For the poor, life is sorrowful and unjust and love is the only glimpse of happiness. The audience is positioned as tourists in their world. It's very slight, but an unusual vignette lifted from the big parade.