Zouzou feels like a French version of a pre-code Hollywood film, though I don't believe French filmmakers ever had the equivalent of the Hays Code inflicted upon them. It has bawdy dialogue, scantily clad women, a silly plot, and an alluring star in Josephine Baker. Of course, the fact that Baker was an African-American and simply allowed to be a leading lady, without a lot made over her skin color, is something that was unthinkable in America at the time. There are a couple of other things you wouldn't see in an American film; the F bomb is dropped in one scene, and there are a couple of instances of near toplessness. The film is light in tone and rather playful, and what it also stars Jean Gabin, Baker is the reason to watch it. While she's a little overly emotive in her acting, her joy is infectious. In one scene, director Marc Allegret emphasizes her elongated form and curves with her giant shadow moving along with her as she dances. In another, she sings as if she were a canary in a giant birdcage, swinging back and forth in the smallest of feathery outfits. "He runs after all the girls, they are all at his mercy...his eyes undress me, his hands sometimes too," she trills. Unfortunately, the film as a whole is rather uneven. The musical numbers look amateurish, and the editing is consistently odd. Worth seeing for Baker and this little window in 1934 France though.
19 Reviews
Josephine great as usual
rday-929 June 2005
I agree the movie is no "Gone with the Wind" but for 1934 and for a black woman it is quite an achievement indeed. The only thing comparable at the time was Halleluja! in the States starring Nina Mae McKinney -- and a stereotypical one at that. La Baker is stunning in the C'est Lui number - for which there still has been no comparison for a black American Actress - Lena Horne never got a white chorus of handsome men. Yes, the quality is poor by today's standards but look at Bette Davis's 1934 turn in Of Human Bondage or even It Happened One Night from the same year. None of them has really great film quality. It was, after all, 1934. So enjoy. If you like Josephine, you won't be disappointed.
Zouzou with a Z
MogwaiMovieReviews5 December 2019
Zouzou is a very much substandard French film from the thirties, with a flimsy and unengaging story, a completely unnecessary murder subplot that is introduced (presumably for suspense) and then dealt with offscreen in about 60 seconds, and ends weakly and unconvincingly, with a whimper not a bang.
But it is a landmark movie in other ways, most obviously in the treatment of race, here being depicted by black American ex-pat Josephine Baker. It's amazing to reflect that back at home she would have had to drink from a separate water fountain and sit at the back of the bus for another thirty years after this was made, whereas here in Paris she is loved and applauded and treated like an equal by every single person she meets, everywhere she goes. It's almost like an alternate celluloid history of the 1930s, and a very refreshing one at that.
Another way it differs is in the frank depictions of nudity, which go further than even the pre-code films of Hollywood at the time would have done. Both these factors ensured it never got an approved release back in the States.
Baker is entertaining throughout, if unconvincing in the emotional scenes, and the young Jean Gabin, who is always good, adds weight and character to his too-undernourished role. It culminates in a couple of big Busby Berkeley-like musical numbers with some enormously oversized sets (a bed, a birdcage, etc). The songs aren't particularly memorable, but then watching a musical with subtitles is never going to be the best way to experience it.
It's not a very good film, but it is a likeable one, and a deeper, more positive cut of history than we are used to seeing today.
But it is a landmark movie in other ways, most obviously in the treatment of race, here being depicted by black American ex-pat Josephine Baker. It's amazing to reflect that back at home she would have had to drink from a separate water fountain and sit at the back of the bus for another thirty years after this was made, whereas here in Paris she is loved and applauded and treated like an equal by every single person she meets, everywhere she goes. It's almost like an alternate celluloid history of the 1930s, and a very refreshing one at that.
Another way it differs is in the frank depictions of nudity, which go further than even the pre-code films of Hollywood at the time would have done. Both these factors ensured it never got an approved release back in the States.
Baker is entertaining throughout, if unconvincing in the emotional scenes, and the young Jean Gabin, who is always good, adds weight and character to his too-undernourished role. It culminates in a couple of big Busby Berkeley-like musical numbers with some enormously oversized sets (a bed, a birdcage, etc). The songs aren't particularly memorable, but then watching a musical with subtitles is never going to be the best way to experience it.
It's not a very good film, but it is a likeable one, and a deeper, more positive cut of history than we are used to seeing today.
Good Performances From Charismatic Baker & Understated Gabin
Snow Leopard24 January 2002
Josephine Baker's charismatic performance as "Zouzou", along with Jean Gabin's good supporting performance as Jean, make this an entertaining film. The story and the rest of the movie are not bad either, but probably would not have worked nearly so well without the two leads. Baker is more known for her stage shows, but she does a pretty good job here, full of charm and buoyant energy that give you every reason to care about her character. She grabs your attention whenever she is in a scene, but also gives her character a more thoughtful turn when it is called for. Gabin's talented, understated performance is a nice complement to her lead, and you can see why he would soon become a star in his own right.
The story is a fairly familiar 'backstage' drama, with some romance and other complications thrown in. It's implausible at times, as such stories tend to be, but it moves at a good pace and it also provides the opportunity for some occasional lavish musical numbers. Most of the rest of the cast is just along for the ride, but they do their jobs well enough, and some of them have good moments of their own, too.
Overall, it's a pretty good film, and one that does not show too many signs of age (except for some defects in the print itself). It should be worth a look whether you like classics, musicals, or stories about life back stage.
The story is a fairly familiar 'backstage' drama, with some romance and other complications thrown in. It's implausible at times, as such stories tend to be, but it moves at a good pace and it also provides the opportunity for some occasional lavish musical numbers. Most of the rest of the cast is just along for the ride, but they do their jobs well enough, and some of them have good moments of their own, too.
Overall, it's a pretty good film, and one that does not show too many signs of age (except for some defects in the print itself). It should be worth a look whether you like classics, musicals, or stories about life back stage.
Mediocre story saved by a legend
rosscinema21 January 2003
This is a simple story that really has no surprises but how can you resist a film that stars the legendary Josephine Baker? The worst part is that you don't hear her sing until the last 20 minutes and then you hear this tremendous voice that would put Mariah Carey to shame. It's also astonishing to see how different standards in film were in France. There is nudity here and it's kind of weird to see a film from 1934 that has nudity. Actress Illa Meery seems to have no problem with it. Also, their is a scene where Meery is in the same bed with her fiancé and while there's no nudity it's the suggestion of their relationship that's evident. In another scene Jean Gabin is walking down the street with a girl and his hand moves down to her rear. You can see that while Baker was not a trained actress she was a natural performer even when not singing. Her energy and personality more than carry the film and she easily steals scenes from her trained counterparts such as Gabin. That makes this film worthy of the archives. Not a great film but you can't resist watching a legendary performer that only made less than two dozen films.
Master Baker
writers_reign6 October 2006
Warning: Spoilers
Jean Gabin was not long out of the Music Halls and had yet to make an impact on the screen when he made this movie so perhaps it is not so surprising to find him singing at one point. Marc Allegret's previous movie was Fanny, the second part of the great Pagnol trilogy so on paper the omens were good. Top-billed Baker had been wowing audiences in the Paris night clubs for the best part of a decade, her husband - with no discernible talent - had crafted a screenplay to showcase her assets and theoretically a good time was had by all and it was arguably daring if not unconventional at that time to avoid the clichéd happy ending an audience would have expected. In a nutshell Baker and Gabin have known each other since childhood when they were flaunted in a carnival as brother and sister despite their obvious different ethnic backgrounds. Gabin was content with this but Baker was looking for love in adulthood and doomed to disappointment. In an echo of 42nd St Gabin 'arranges' for the talented amateur Baker to replace the star of a show on which he is a technician and of course she scores heavily but having already introduced Gabin to a friend has to stand by unfulfilled. A better print may have helped but I'm glad I saw it without being overwhelmed.
Worth seeing for historical interest
wjfickling7 March 2001
This isn't a very good movie, even by the standards of its time. And Josephine Baker only hints at what made her a legend. But it's worth seeing just to get a glimpse of this great performer who, against overwhelming odds, prevailed against the endemic racism of her time by leaving the US and going to Paris, where she became a star. It's too bad more of her performances aren't preserved on film.
Even in French, it's a pleasure to watch Josephine Baker in Zouzou
tavm8 February 2019
After several years, I finally discovered this-Josephine Baker's first talkie feature film from France. The YouTube upload I watched had the option of turning on the English subtitles but after a while, I had to turn that off because what I read didn't make sense to me. So watching without understanding the French language was a little unusual for me though when Ms. Baker sings in that tongue, it's still a pleasure to behold. Having read the synopsis on Wikipedia and this site, it's the kind of story you see here in the states at that time except it wouldn't be between two different races, that's for sure! So on that note, Zouzou is worth a look.
Joséphine Baker Dazzles In French Romance
Ron Oliver24 September 2000
ZOUZOU, a young, vivacious Creole laundress impresses all around her with her talent & wit. Longing for the love of her handsome adopted brother, she instead finds the possibility of enormous success in the musical theater...
The marvelous Joséphine Baker is perfectly cast in the title role in this very enjoyable French film. With her enormous eyes & infectious smile, she connects with the viewer's heartstrings immediately. Her over-sized personality & obvious joy of performing make her a pure pleasure to watch. Here, Baker makes us care about what's happening to poor Zouzou, during her trials & triumphs.
Gallic star Jean Gabin is effective as Zouzou's seaman brother, but this is really Baker's time to shine, and he nicely underplays his scenes.
The film is well made, looking a little reminiscent of Busby Berkeley movies being produced at the same time in America - although unlike American films of this period, ZOUZOU hasn't any racism. It should be pointed out that there was no Hays Office or Production Code in France. Some of the dialogue & action is rather provocative, but it must be admitted that seeing Baker, strategically covered with tiny white feathers, sitting on a swing singing 'Haiti,' is one of the cinema's more memorable moments.
Joséphine Baker was born in St. Louis in 1906, into a very poor family. Her talent & driving ambition, however, soon pushed her into moving East and she was briefly a cast member of the Ziegfeld Follies. Realizing that America in the mid-1920's held great limitations for a gifted Black woman, she managed to get herself to Paris, where she eventually joined the Foliés-Bergeres & Le Negre Revue. The French adored her and she became a huge celebrity. A short return to America in 1935 showed Baker that things had not changed for African-Americans. She returned to France, became a French citizen & worked for the Resistance during the early days of the War. Baker relocated to Morocco for the duration and entertained Allied troops stationed there.
After the War, Baker's fortunes began to slide and she faced many financial & personal difficulties. For a while, she was even banned from returning to the United States. Finally, Baker accepted an offer from Princess Grace of Monaco to reside in the Principality. Joséphine Baker was on the verge of a comeback when she died of a stroke in 1975, at the age of 68.
Having appeared in only two decent films - ZOUZOU & PRINCESSE TAM TAM - Baker is in danger of becoming obscure. But she deserves her place alongside Chevalier, Dietrich & Robeson as one of her generation's truly legendary performers.
The marvelous Joséphine Baker is perfectly cast in the title role in this very enjoyable French film. With her enormous eyes & infectious smile, she connects with the viewer's heartstrings immediately. Her over-sized personality & obvious joy of performing make her a pure pleasure to watch. Here, Baker makes us care about what's happening to poor Zouzou, during her trials & triumphs.
Gallic star Jean Gabin is effective as Zouzou's seaman brother, but this is really Baker's time to shine, and he nicely underplays his scenes.
The film is well made, looking a little reminiscent of Busby Berkeley movies being produced at the same time in America - although unlike American films of this period, ZOUZOU hasn't any racism. It should be pointed out that there was no Hays Office or Production Code in France. Some of the dialogue & action is rather provocative, but it must be admitted that seeing Baker, strategically covered with tiny white feathers, sitting on a swing singing 'Haiti,' is one of the cinema's more memorable moments.
Joséphine Baker was born in St. Louis in 1906, into a very poor family. Her talent & driving ambition, however, soon pushed her into moving East and she was briefly a cast member of the Ziegfeld Follies. Realizing that America in the mid-1920's held great limitations for a gifted Black woman, she managed to get herself to Paris, where she eventually joined the Foliés-Bergeres & Le Negre Revue. The French adored her and she became a huge celebrity. A short return to America in 1935 showed Baker that things had not changed for African-Americans. She returned to France, became a French citizen & worked for the Resistance during the early days of the War. Baker relocated to Morocco for the duration and entertained Allied troops stationed there.
After the War, Baker's fortunes began to slide and she faced many financial & personal difficulties. For a while, she was even banned from returning to the United States. Finally, Baker accepted an offer from Princess Grace of Monaco to reside in the Principality. Joséphine Baker was on the verge of a comeback when she died of a stroke in 1975, at the age of 68.
Having appeared in only two decent films - ZOUZOU & PRINCESSE TAM TAM - Baker is in danger of becoming obscure. But she deserves her place alongside Chevalier, Dietrich & Robeson as one of her generation's truly legendary performers.
Skip to the end
richard-178716 October 2008
Most of this movie is the sort of mindless melodrama Hollywood and Paris produced in abundance in the 1930s. The acting is all fine, but the story is strictly from hunger.
At the end, however, you get to see Josephine Baker in a major production number, the sort of musical extravaganza that made her a star in Paris. There, for five minutes, you understand that she was a lot more than just a woman in a banana skirt.
Watch the rest of the movie if you're into melodrama.
But definitely watch the end. It explains the French reputation of Josephine Baker.
At the end, however, you get to see Josephine Baker in a major production number, the sort of musical extravaganza that made her a star in Paris. There, for five minutes, you understand that she was a lot more than just a woman in a banana skirt.
Watch the rest of the movie if you're into melodrama.
But definitely watch the end. It explains the French reputation of Josephine Baker.
Baker offers preview of Marilyn and Madonna
trashygap5 April 2006
Warning: Spoilers
I enjoyed this film, for what it was. Produced in 1935, the film is simply edited and directed--no major film awards here. But the film represents the sense of the West toward the exotic in the 1930s. It is a great example of Orientalism in film. Look especially for the visual tactics and character portrayals that Baker exhibits--they make her seem very childlike, naive, and overly emotional. These are all signposts for the West's view of the Orient (Thank you Said!)
Also, Baker's scene "C'est Lui" is highly reminiscent of Marilyn Monroe's scene "Diamonds are a Girl's Best Friend" from "Gentlemen Prefer Blondes"... this, of course, is a scene later appropriated by Madonna for her 1985 video "Material Girl." This film is therefore a must for students researching early sex symbols in film.
Also, Baker's scene "C'est Lui" is highly reminiscent of Marilyn Monroe's scene "Diamonds are a Girl's Best Friend" from "Gentlemen Prefer Blondes"... this, of course, is a scene later appropriated by Madonna for her 1985 video "Material Girl." This film is therefore a must for students researching early sex symbols in film.
Josephine Baker struts her stuff
lee_eisenberg21 December 2019
Josephine Baker left the United States to escape the racism here, moving to France. In Paris she became a sensation. Her talent is on display in Marc Allégret's "Zouzou". The plot is a lot of the stuff that we saw in Hollywood's musicals of the era, but how can you not love Baker's dancing? If nothing else, you gotta see it just for that.
Good Stuff
ivan-2229 October 2003
I enjoyed everything about this movie: camera, pacing, acting, dancing, plot, characters, French language, and historic value. Above all I enjoyed Josephine Baker's incredibly subtle singing, and the beautifully written and orchestrated songs. And the background music is also superb. The whole movie has an atmosphere of generosity and good cheer, and a pleasant absence of Hollywood glitter. They really don't make them like this anymore. Not for those who want blockbusting glamor. This is a modest film, but there is charm in modesty. Less is more.
Well made and entertaining, and fairly well balanced between notes of comedy, drama, and music
I_Ailurophile20 June 2023
One can sometimes distinctly discern that a picture was built with a mind more for lighthearted entertainment and frivolous diversion than discrete storytelling. In no few instances this seems especially true of fare from the 30s compared to other decades, though given the state of the world at that time and the relatively early development of the medium, this is perhaps understandable. 1934's 'Zouzou' quite seems to count among such works, for it most certainly has a plot, but it advances mildly, at an unbothered pace, and it's only within the second half that the plot really comes together. As it does, much of the length is also filled with song, dance, or other jovialities of varying prominence and duration, and there's no mistaking that maybe even more than was already true for contemporary roles for women, it seems like Josephine Baker is somewhat infantilized as the title character. Save maybe for the latter none of this is specifically a mark against the feature, though it's undeniably true that some modern viewers have a harder time engaging with older movies, and I can understand how this is a demonstration of just that. Be all that as it may, while this may not be wholly riveting or demand viewership, it's duly enjoyable and well done; even at its "weakest" it's a fine way to pass time on a quiet day, and at its best it's rather superb.
However one wishes to judge the nature of the material, this is very ably made across the board. 'Zouzou' is definitely notable as an early major film to star a black woman in a chief role, and even keeping in mind the sometimes questionable manner in which her part is written, Baker capably illustrates her wholehearted range and skill, not to mention adept physicality, in bringing the spirited woman to life. Other cast members are a small joy, too, in building the story and the light comedy and drama, including Yvette Lebon as lovesick Claire, Illa Meery as temperamental Barbara, Marcel Vallée as high-strung Trompe, Pierre Larquey as kindhearted Papa - and of course the inimitable Jean Gabin, starring alongside Baker as her oblivious lifelong companion. Mostly somewhat unsophisticated as the narrative might be it's nonetheless written well, and provides a good time in following the journey of the small family unit, the development of Zouzou and Jean's careers, and the trials and tribulations of love, largely all in or around the setting of the theater. That story is bolstered by characters of strong personality and firm scene writing, making for a viewing experience that's compelling and satisfying, if possibly less than absolutely essential.
I'm a huge fan of the sets, with those we see in the last act being downright brilliant and surely a great high point for the title. The costume design, hair, and makeup are all lovely; Michel Kelber and Jacques Mercanton's cinematography is gratifyingly sharp and mindful, an unexpected highlight. The picture arguably struggles slightly with transitions from one shot or scene to the next - particularly, when more ponderous beats of drama do manifest later in the length, their handling is less than perfectly smooth - but by and large Marc Allégret illustrates excellent direction in orchestrating shots and scenes, and making them count. For that matter, too, the music and choreography are splendid; such moments may not be outright revelatory, but they're smartly executed, with the showcased sequence in the last act being rather spectacular (even with garnishes of ham-handedness).
Really, 'Zouzou' is pretty swell all around. It may not be 100% flawless, and even at its best it's not so totally special as to be a must-see, but the varied flavors are fairly well balanced overall, and I don't think there's any disputing the skill and intelligence of all involved. Whether one is looking to the writing, acting, direction, or otherwise craftsmanship, I'm of the mind that this is fun and plainly admirable, handily achieving its goal of entertainment and ultimately coming off much better than some of its contemporaries. One doesn't need to go out of their way for this, perhaps, but if you do have the opportunity to watch 'Zouzou' and appreciate what older features have to offer, even ninety years later this holds up rather well and is worth checking out. When all is said and done this remains a very deserving classic, and I happily give it a solid recommendation for one and all.
However one wishes to judge the nature of the material, this is very ably made across the board. 'Zouzou' is definitely notable as an early major film to star a black woman in a chief role, and even keeping in mind the sometimes questionable manner in which her part is written, Baker capably illustrates her wholehearted range and skill, not to mention adept physicality, in bringing the spirited woman to life. Other cast members are a small joy, too, in building the story and the light comedy and drama, including Yvette Lebon as lovesick Claire, Illa Meery as temperamental Barbara, Marcel Vallée as high-strung Trompe, Pierre Larquey as kindhearted Papa - and of course the inimitable Jean Gabin, starring alongside Baker as her oblivious lifelong companion. Mostly somewhat unsophisticated as the narrative might be it's nonetheless written well, and provides a good time in following the journey of the small family unit, the development of Zouzou and Jean's careers, and the trials and tribulations of love, largely all in or around the setting of the theater. That story is bolstered by characters of strong personality and firm scene writing, making for a viewing experience that's compelling and satisfying, if possibly less than absolutely essential.
I'm a huge fan of the sets, with those we see in the last act being downright brilliant and surely a great high point for the title. The costume design, hair, and makeup are all lovely; Michel Kelber and Jacques Mercanton's cinematography is gratifyingly sharp and mindful, an unexpected highlight. The picture arguably struggles slightly with transitions from one shot or scene to the next - particularly, when more ponderous beats of drama do manifest later in the length, their handling is less than perfectly smooth - but by and large Marc Allégret illustrates excellent direction in orchestrating shots and scenes, and making them count. For that matter, too, the music and choreography are splendid; such moments may not be outright revelatory, but they're smartly executed, with the showcased sequence in the last act being rather spectacular (even with garnishes of ham-handedness).
Really, 'Zouzou' is pretty swell all around. It may not be 100% flawless, and even at its best it's not so totally special as to be a must-see, but the varied flavors are fairly well balanced overall, and I don't think there's any disputing the skill and intelligence of all involved. Whether one is looking to the writing, acting, direction, or otherwise craftsmanship, I'm of the mind that this is fun and plainly admirable, handily achieving its goal of entertainment and ultimately coming off much better than some of its contemporaries. One doesn't need to go out of their way for this, perhaps, but if you do have the opportunity to watch 'Zouzou' and appreciate what older features have to offer, even ninety years later this holds up rather well and is worth checking out. When all is said and done this remains a very deserving classic, and I happily give it a solid recommendation for one and all.
Bad musical comes to life when Josephine Baker takes the stage
zetes8 February 2015
I've long been a fan of Josephine Baker, but have never seen more than clips of her films. This is one of her most famous films, in which she co-stars with Jean Gabin. Unfortunately, it's pretty worthless. It's a musical, but it really doesn't want to be a Hollywood musical. It wants to be semi-realistic, and the songs only take place on stage, so there's only a couple of them, and they're right at the end. The first seventy minutes are ridiculous, moronically plotted, and boring. Baker and Gabin are twins, in reality two adopted children of a circus man (Pierre Larquey). When they grow up, Gabin is a sailor and Baker a laundress. Kind of. Gabin immediately isn't a sailor, but is instead an electrician working in the theater, where Baker gets accidentally discovered when the big star (Illa Meery) is acting up. Baker's secretly in love with her brother, but her co-worker (Yvette Lebon) catches his eye. Oh, and Gabin is sleeping with Meery, too, maybe. At least in one random scene. Ugh, the whole plot is a mess. And then we get to the giant musical number, which is so silly it would make Busby Berkeley laugh in derision - and that should be a hoot, but it's so over-edited that it becomes annoying. The film only comes to life when Baker is given center stage, which is not close to often enough. Even then, she's burdened with ludicrous costumes, like the one that makes her look like she has yeti fur growing out her tits. Damn, I was really looking forward to this.
A Completely Uninspiring "Rags-To-Riches" Story
StrictlyConfidential3 June 2020
I'm gonna be completely straightforward here and tell you that I thought "Zou-Zou" (from 1934) was pretty terrible (for the most part).
And, speaking about actress, Josephine Baker - I was really expecting her apparently dynamic presence to dazzle me in a big way. But, in the long run - Baker's screen-charisma bordered on being totally forgettable (throughout).
And, if all of the above wasn't disappointing enough as it was - This 90-minute French production didn't come to life until its last 20 minutes and by that point I was too bored with "Zou-Zou" to care about what the heck happened in the story, one way or the other,
And, speaking about actress, Josephine Baker - I was really expecting her apparently dynamic presence to dazzle me in a big way. But, in the long run - Baker's screen-charisma bordered on being totally forgettable (throughout).
And, if all of the above wasn't disappointing enough as it was - This 90-minute French production didn't come to life until its last 20 minutes and by that point I was too bored with "Zou-Zou" to care about what the heck happened in the story, one way or the other,
more an interesting film curiosity than anything else
planktonrules11 January 2006
Other than he infamous "banana dance", most American audiences know very little about the super-famous expatriate, Jospehine Baker. Her films are very rarely seen in this country. Since I really like French films and love 20th century history, it only seemed natural that I seek out this film.
As far as the film goes, it's a rather ordinary musical much like 42nd Street or Footlight Parade, though not quite the quality of these two films. There are some Busby Berkely-style dance numbers, and all the normal clichés associated with the genre--with the addition of Ms. Baker and a young Jean Gabin (before he became a lot more famous). The only real problem was that it sure looked like the writers just weren't sure what to do--create a romance between the leads or not. Plus, maybe I wasn't watching close enough, but despite Baker's character being in love with Gabin's, I wasn't sure if the writers intended they were supposed to REALLY be brother and sister (or half-brother and half-sister). If so, this made it all seem kinda icky.
FYI--parents should know that although this is an older film, there is some nudity. It's not super explicit, but does occur in the film.
As far as the film goes, it's a rather ordinary musical much like 42nd Street or Footlight Parade, though not quite the quality of these two films. There are some Busby Berkely-style dance numbers, and all the normal clichés associated with the genre--with the addition of Ms. Baker and a young Jean Gabin (before he became a lot more famous). The only real problem was that it sure looked like the writers just weren't sure what to do--create a romance between the leads or not. Plus, maybe I wasn't watching close enough, but despite Baker's character being in love with Gabin's, I wasn't sure if the writers intended they were supposed to REALLY be brother and sister (or half-brother and half-sister). If so, this made it all seem kinda icky.
FYI--parents should know that although this is an older film, there is some nudity. It's not super explicit, but does occur in the film.
Not what we want to see
jaykay-1012 February 2001
Josephine Baker had achieved legendary status by the time she made her first film. Now, it would seem, instead of performing for just a few hundred in a theater or cabaret, her uniqueness could be seen by millions and preserved forever.
In a similar situation, legendary performers such as Jolson and Chevalier brought to their films precisely what the audience wanted to see : i.e., the essence of their live performances.
For reasons that both frustrate and mystify (whatever those reasons might be), Josephine Baker chose to omit almost entirely from her films the essence of the phenomenal entertainer that she was. Had she decided to cultivate a reputation as an Actress by this time in her career? There are a few brief film clips of her performing onstage in the manner that had made her a sensation. In "Zouzou" we get two or three minutes of the Josephine Baker the world remembers (one scene - when she performs behind a closed curtain, certain that no one can see her). In "Princess Tam Tam" there is absolutely nothing of the classic Baker. Love songs, ballads of yearning, sung in a tremulous voice that would not have provided her with a living...she barely moves during these songs, hardly changes expression, though gifted with one of the most expressive faces (and bodies) anyone could wish for.
What a waste. How sad.
In a similar situation, legendary performers such as Jolson and Chevalier brought to their films precisely what the audience wanted to see : i.e., the essence of their live performances.
For reasons that both frustrate and mystify (whatever those reasons might be), Josephine Baker chose to omit almost entirely from her films the essence of the phenomenal entertainer that she was. Had she decided to cultivate a reputation as an Actress by this time in her career? There are a few brief film clips of her performing onstage in the manner that had made her a sensation. In "Zouzou" we get two or three minutes of the Josephine Baker the world remembers (one scene - when she performs behind a closed curtain, certain that no one can see her). In "Princess Tam Tam" there is absolutely nothing of the classic Baker. Love songs, ballads of yearning, sung in a tremulous voice that would not have provided her with a living...she barely moves during these songs, hardly changes expression, though gifted with one of the most expressive faces (and bodies) anyone could wish for.
What a waste. How sad.
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