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.