Abstract
Abstract This chapter notes that, with sound, cinema soon rivalled live entertainment by adopting songs and theatre routines available at music halls and café-concerts. It also drew on popular theatre plays and actors. France followed three different models in adapting to the crisis of sound. René Clair and his filmed operettas proved the most immediately successful. He, along with the other two models, Marcel Pagnol and Jean Renoir, developed themes that dealt with the lower classes to appeal to the masses and to the highly politicized period of the Popular Front. The chapter cites the emergence of pessimistic and adult themes presented in a novelistic style now called Poetic Realism. French export films triumphed abroad. The decade ended with three films crucial to cinema’s future: Carné’s Le Jour se lève, Renoir’s La Règle du jeu, and Malraux’s Espoir—the last, instantly banned since its release coincided with Adolf Hitler’s invasion of Poland.
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