‘Ici, une immense usine perfectionnée; là, une chambre meublée de faubourg’: Julien Duvivier, mobility and migration

Abstract

This article focuses on a specific instance of migration and mobility in French film director Julien Duvivier’s career, namely his first brief stint in Hollywood in 1938. He was invited to film The Great Waltz, an expensive costume drama, for MGM, a studio renowned for its lavish attention to mise en scène. Unlike other French directors who had spent, or would subsequently spend, time in America, Duvivier succeeded in inculcating his own particular formal and visual touches into the film, while simultaneously negotiating the tricky terrain of producer interference and suspicion of a foreigner’s working methods. Duvivier’s professional leap from one cinema ecosystem to another paved the way for his enforced migration to Hollywood in 1940, when he escaped from Occupied France to work again in the studio system. For Duvivier, Hollywood did not disable his talent, but rather enabled it, revitalising his praxis and leading him towards increasingly ambitious projects back in France.