Jean Gabin

1.1. Birth and Family

Jean Gabin was born Jean-Alexis Moncorgé on 17 May 1904, in the 9th arrondissement of Paris, specifically at 23 Boulevard de Rochechouart. His father, Ferdinand Moncorgé, was a cafe owner and a cabaret entertainer who used "Gabin" as his stage name, which is a French first name. His mother was Madeleine Petit, a singer.

1.2. Childhood and Education

Gabin grew up in the village of Mériel in the former Seine-et-Oise department, now part of Val-d'Oise, located approximately 22 mile north of Paris. He attended primary school on Clignancourt Street in the 18th arrondissement of Paris and later the Lycée Janson de Sailly. However, he left school prematurely.

1.3. Early Jobs and Entry into Entertainment

Before entering the entertainment industry, Gabin held various manual and clerical jobs. He worked as a laborer, an office clerk at the Compagnie parisienne de distribution d'électricité (Paris Electricity Distribution Company), and a warehouseman at a car parts depot in Drancy. At the age of 18 or 19, in 1922, he began his career in show business with a minor role in a Folies Bergère production. He continued to perform in a variety of small parts in Parisian music halls and operettas, often imitating the popular singing style of Maurice Chevalier. In 1927, he toured South America with his first wife, Gaby Basset, though this venture was unsuccessful. Upon returning to France, he found work at the Moulin Rouge. His performances gradually gained recognition, leading to more significant stage roles. In the spring of 1928, the renowned singer and actress Mistinguett invited Gabin to join her troupe, where he first played a "waiter" in the variety show "Paris qui tourne" on 18 April 1928. He subsequently took on leading romantic roles in operettas such as "Flossie" and "Les Aventures du Roi Pausole".

3.1. Early Stage and Film Work

After completing his initial military service, Gabin returned to the entertainment business, performing under the stage name Jean Gabin in Parisian music halls and operettas. His performances began to garner attention, leading to roles in two silent films in 1928. Two years later, he made the transition to sound films with the 1930 Pathé Frères production, Chacun sa chance, one of the first French sound films, in which he co-starred with his former wife, Gaby Basset. Over the next four years, he played secondary roles in more than a dozen films, including those directed by Maurice Tourneur and Jacques Tourneur.

3.2. Rise to Stardom

Gabin achieved significant recognition for his performance in Maria Chapdelaine, a 1934 production directed by Julien Duvivier. This collaboration marked a turning point, as he went on to star in Duvivier's 1935 film Golgotha, where he played Pontius Pilate. His role as a romantic hero in the 1936 war drama La Bandera, also directed by Duvivier, firmly established him as a major star. He continued his successful collaboration with Duvivier in the highly successful 1937 film Pépé le Moko, whose international popularity brought Gabin global recognition. In this film, Gabin showcased his singing talents, performing chansons that evoked his music hall days.

That same year, he starred in Jean Renoir's La Grande Illusion, a critically acclaimed anti-war film that enjoyed an unprecedented six-month run in a New York City theater. This was followed by another major work by Renoir, La Bête Humaine (The Human Beast, 1938), a film noir tragedy based on Émile Zola's novel, co-starring Simone Simon. Gabin also delivered a memorable performance in Le Quai des brumes (Port of Shadows, 1938), one of director Marcel Carné's classics of poetic realism. This film marked his first collaboration with Carné and screenwriter Jacques Prévert. He further cemented his reputation with Carné's 1939 film Le jour se lève (Daybreak). His rugged charisma during this period was often compared to that of American actors like Humphrey Bogart and James Cagney.

3.3. Hollywood and World War II

In the late 1930s, Gabin received numerous offers from Hollywood, but he declined them until the outbreak of World War II. Following the German occupation of France in 1940, he joined Renoir and Duvivier in the United States. During his time in Hollywood, Gabin began a passionate romance with actress Marlene Dietrich, a relationship that lasted until 1948. His films in America, Moontide (1942), directed by Archie Mayo and co-starring Ida Lupino, and The Impostor (1944), directed by Duvivier, were not commercially successful.

Despite these cinematic setbacks, Gabin's commitment to his country remained strong. In April 1943, while still in the United States, he volunteered to join the Free French Naval Forces under General Charles de Gaulle to contribute to the liberation of France. He served as a tank commander in the 2nd Armored Division, participating in key campaigns, including the liberation of Paris. His wartime service earned him military honors, including the Médaille militaire and the Croix de Guerre.

3.4. Post-War Career and Comeback

After the war, Gabin returned to France. In 1945, Marcel Carné cast him in Gates of the Night with Marlene Dietrich as his co-star. However, Dietrich disliked the screenplay and was concerned about how her German accent would be received by post-war French audiences. When she withdrew from the project, Gabin followed suit, leading to a falling out with Carné. He then found a French producer and director willing to cast him and Dietrich together in Martin Roumagnac (1946). While this film was not a critical success, it performed well commercially, selling over 2 million tickets. Their personal relationship, however, ended shortly after.

In 1947, Gabin starred in Miroir, which was a commercial failure. His 1948 film, René Clément's poetic realist work The Walls of Malapaga (Au-delà des grilles^French), won an Academy Award for Best Foreign Language Film, but it brought little individual recognition for Gabin. In 1949, he made his only appearance in legitimate theater in Henri Bernstein's La Soif, which ran for six months in Paris and earned him critical praise as "a first-rate stage actor." Despite this, his subsequent films did not perform well at the French box office, and the next five years were marked by repeated failures, leading to a period of career slump.

Gabin's career seemed to be in decline until the 1954 film Touchez pas au grisbi (Don't Touch the Loot), directed by Jacques Becker, brought him renewed critical acclaim and international profitability, selling over 4 million tickets in France. This marked a significant comeback. He then reunited with Jean Renoir for French Cancan (1954), co-starring María Félix and Françoise Arnoul. This period, often described as Gabin's mature phase, saw him star in other successful films like L'Air de Paris (1954) and Gas-oil (1955).

3.5. Later Career and Notable Roles

Over the next two decades, Gabin made almost 50 more films, most of which were commercially and critically successful. He notably portrayed Georges Simenon's detective Jules Maigret in three films: Maigret tend un piège (1958), Maigret et l'Affaire Saint-Fiacre (1959), and Maigret voit rouge (1963).

His later career was characterized by his compelling portrayals of older, often gruff, and authoritative figures, including many roles in gangster films where he excelled as a mafia boss. He collaborated with leading figures of post-war French cinema, including Brigitte Bardot in En cas de malheur (1958), Alain Delon in Le Clan des Siciliens (1969), Mélodie en sous-sol (1963), and Deux hommes dans la ville (1973), Jean-Paul Belmondo in Un singe en hiver (1962), and Louis de Funès in Le Tatoué (1968).

Some of his most commercially successful films in this period include:

• Les Misérables (1958), co-starring Bourvil, which sold over 9.94 million tickets.
• Napoléon (1955), with over 5.41 million tickets.
• La Traversée de Paris (1956), with over 4.89 million tickets.
• Le Clan des Siciliens (1969), co-starring Alain Delon and Lino Ventura, selling over 4.82 million tickets.
• Le Tonnerre de Dieu (1965), with over 4.10 million tickets.
• Archimède le clochard (1959), with over 4.07 million tickets.
• Les Grandes Familles (1958), with over 4.04 million tickets.

His final film was L'Année sainte (1976), co-starring Jean-Claude Brialy, Henri Virlojeux, and Danielle Darrieux, released two weeks after he presided over the first César Awards ceremony on 3 April 1976.

3.6. Acting Style and Public Image

Jean Gabin was celebrated for his distinctive acting style, characterized by a deep and nuanced portrayal of characters, often exuding a rugged charisma. He was widely perceived as a quintessential French cinema icon, known for his authentic and powerful screen presence. His ability to convey complex emotions with minimal expression made him a master of the craft.

Gabin was particularly renowned for his realistic portrayal of characters eating on screen. Japanese actor Ken Takakura famously stated that he studied Gabin's eating scenes to improve his own performances, and film critic Nagaharu Yodogawa also praised Gabin as an actor who "eats well." The Japanese writer Shotaro Ikenami was strongly influenced by Gabin's eating scenes in his popular works like Kenkaku Shobai and Onihei Hankacho. However, Ikenami himself stated that he disliked the idea of Gabin playing his character Onihei, humorously remarking that Onihei should be "better looking."

Director Hayao Miyazaki also expressed admiration for Gabin's acting, particularly in Touchez pas au grisbi, and reportedly instructed Shuichiro Moriyama, Gabin's dedicated Japanese dubbing actor, to emulate Gabin's style when voicing the protagonist in Miyazaki's film Porco Rosso, suggesting Gabin was one of the models for the character.

3.7. Production Company

In 1963, Jean Gabin co-founded the film production company Gafer Films with fellow actor Fernandel. Their first film produced was L'Âge ingrat (1964), in which both Gabin and Fernandel starred.

7.1. Impact on French Cinema

Jean Gabin is widely considered one of the greatest stars in the history of French cinema. His powerful screen presence, deep acting style, and ability to embody the common man as well as the hardened anti-hero made him a beloved figure across generations. He became a symbol of French cinematic identity, influencing countless actors and directors who followed. His career, spanning from the poetic realism of the 1930s to the more robust and often darker roles of his later years, showcased a remarkable versatility and enduring appeal.

7.2. Influence on Japanese Culture

Gabin's work and persona had a notable and specific influence on Japanese culture, particularly within its film industry.

• Acting Style:** His realistic acting, especially his naturalistic eating scenes, deeply impressed Japanese actors. Ken Takakura stated that he studied Gabin's eating performances, and even presented a large poster of Gabin to his favorite cafe in Kyoto as a token of gratitude, which remains displayed there. Film critic Nagaharu Yodogawa also lauded Gabin as an actor who "eats well."
• Literary Influence:** The renowned Japanese writer and gourmand Shotaro Ikenami was significantly influenced by Gabin's films, particularly his eating scenes, in his representative works such as Kenkaku Shobai and Onihei Hankacho. However, Ikenami himself stated that he disliked the idea of Gabin playing his character Onihei, humorously remarking that Onihei should be "better looking."
• Director's Inspiration:** Celebrated animation director Hayao Miyazaki praised Gabin's acting in Touchez pas au grisbi. When directing Porco Rosso, Miyazaki reportedly instructed Shuichiro Moriyama, Gabin's dedicated Japanese dubbing actor, to emulate Gabin's style when voicing the protagonist in Miyazaki's film Porco Rosso, suggesting Gabin was one of the models for the character.
• Co-starring and Remakes:** Japanese actor Toshiro Mifune held great respect for Gabin and there were plans for them to co-star in a film. Japanese actress Yoko Tani, who was born in France, co-starred with Gabin in the 1955 film Le port du désir. Additionally, the 1986 Japanese film Headlight, starring Tatsuya Nakadai, was a remake of Gabin's 1956 film of the same name, with Nakadai embodying Gabin's role out of reverence for the French actor.
• Pop Culture References:** The protagonist and title of the Japanese tokusatsu television series Space Sheriff Gavan were named after Jean Gabin, demonstrating his unexpected reach into popular culture.

7.3. Memorials and Tributes

Jean Gabin is commemorated in various ways, honoring his enduring legacy:

• Prix Jean Gabin:** In 1981, French actor Louis de Funès initiated the Prix Jean Gabin, an award presented annually to promising young male actors in the French film industry. It was awarded from 1981 to 2006. However, due to a dispute between the award committee and Gabin's family, the prize was renamed the Prix Patrick Dewaere in 2008. This award was associated with the Prix Romy Schneider, given to young actresses.
• Musée Jean Gabin:** The Musée Jean Gabin was established in 1992 in the commune of Mériel, Val-d'Oise, where Gabin spent his childhood. The museum narrates his life story and features film memorabilia, including a bust of Gabin sculpted by Jean Marais at its entrance.
• Public Squares:**
  • On 16 May 2008, the Place Jean Gabin was inaugurated in Paris by Daniel Vaillant, then mayor of the 18th arrondissement of Paris, and Gabin's children. It is located at the corner of rue Custine and rue Lambert, at the foot of Montmartre.
  • In 2011, a "Place Jean-Gabin" was also inaugurated in the city of Porrentruy, Switzerland.
• Cinema Jean Gabin:** The Cinema Jean Gabin in Montgenèvre was named in his honor. Montgenèvre, France's oldest ski resort, was a popular holiday destination for Gabin and other French artists and intellectuals, including Jean-Paul Sartre.
• Orne Properties:** Gabin purchased land in Orne, notably in Bonnefoi and Moulins-la-Marche. A street in Moulins-la-Marche is named in his honor, and the racetrack he created, Hippodrome Jean Gabin, still bears his name.