Concluding our short series celebrating the films of the Pathé-Natan company, 1926-1934.
Above: Maurice Tourneur invents the film noir style while nobody's looking in Justin de Marseille.
Bernard Natan, CEO of Pathé, was as conservative in his tastes as any studio boss, but he can be considered a brilliant talent scout on the basis of a few risks he took: casting Jean Gabin in his first feature (Chacun sa chance, 1931, an operetta-film), giving Jacques Tourneur his first directing job (Tout ça ne vaut pas l'amour, 1932, a comedy), and allowing Pierre and Jacques Prevert to make their first film (L'affaire est dans le Sac, 1932) on leftover sets, although admittedly he was so baffled by the resulting film he refused to release it.
But Natan often preferred to work with tried and true filmmakers with the added insurance of long track records. Leonce Perret, who made his directing debut in 1909, was...
Above: Maurice Tourneur invents the film noir style while nobody's looking in Justin de Marseille.
Bernard Natan, CEO of Pathé, was as conservative in his tastes as any studio boss, but he can be considered a brilliant talent scout on the basis of a few risks he took: casting Jean Gabin in his first feature (Chacun sa chance, 1931, an operetta-film), giving Jacques Tourneur his first directing job (Tout ça ne vaut pas l'amour, 1932, a comedy), and allowing Pierre and Jacques Prevert to make their first film (L'affaire est dans le Sac, 1932) on leftover sets, although admittedly he was so baffled by the resulting film he refused to release it.
But Natan often preferred to work with tried and true filmmakers with the added insurance of long track records. Leonce Perret, who made his directing debut in 1909, was...
- 4/5/2012
- MUBI
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