Zouzou

I agree the movie is no "Gone with the Wind" but for 1934 and for a black woman it is quite an achievement indeed. The only thing comparable at the time was Halleluja! in the States starring Nina Mae McKinney -- and a stereotypical one at that. La Baker is stunning in the C'est Lui number - for which there still has been no comparison for a black American Actress - Lena Horne never got a white chorus of handsome men. Yes, the quality is poor by today's standards but look at Bette Davis's 1934 turn in Of Human Bondage or even It Happened One Night from the same year. None of them has really great film quality. It was, after all, 1934. So enjoy. If you like Josephine, you won't be disappointed.

I've long been a fan of Josephine Baker, but have never seen more than clips of her films. This is one of her most famous films, in which she co-stars with Jean Gabin. Unfortunately, it's pretty worthless. It's a musical, but it really doesn't want to be a Hollywood musical. It wants to be semi-realistic, and the songs only take place on stage, so there's only a couple of them, and they're right at the end. The first seventy minutes are ridiculous, moronically plotted, and boring. Baker and Gabin are twins, in reality two adopted children of a circus man (Pierre Larquey). When they grow up, Gabin is a sailor and Baker a laundress. Kind of. Gabin immediately isn't a sailor, but is instead an electrician working in the theater, where Baker gets accidentally discovered when the big star (Illa Meery) is acting up. Baker's secretly in love with her brother, but her co-worker (Yvette Lebon) catches his eye. Oh, and Gabin is sleeping with Meery, too, maybe. At least in one random scene. Ugh, the whole plot is a mess. And then we get to the giant musical number, which is so silly it would make Busby Berkeley laugh in derision - and that should be a hoot, but it's so over-edited that it becomes annoying. The film only comes to life when Baker is given center stage, which is not close to often enough. Even then, she's burdened with ludicrous costumes, like the one that makes her look like she has yeti fur growing out her tits. Damn, I was really looking forward to this.

Josephine Baker's charismatic performance as "Zouzou", along with Jean Gabin's good supporting performance as Jean, make this an entertaining film. The story and the rest of the movie are not bad either, but probably would not have worked nearly so well without the two leads. Baker is more known for her stage shows, but she does a pretty good job here, full of charm and buoyant energy that give you every reason to care about her character. She grabs your attention whenever she is in a scene, but also gives her character a more thoughtful turn when it is called for. Gabin's talented, understated performance is a nice complement to her lead, and you can see why he would soon become a star in his own right.

The story is a fairly familiar 'backstage' drama, with some romance and other complications thrown in. It's implausible at times, as such stories tend to be, but it moves at a good pace and it also provides the opportunity for some occasional lavish musical numbers. Most of the rest of the cast is just along for the ride, but they do their jobs well enough, and some of them have good moments of their own, too.

Overall, it's a pretty good film, and one that does not show too many signs of age (except for some defects in the print itself). It should be worth a look whether you like classics, musicals, or stories about life back stage.

I enjoyed everything about this movie: camera, pacing, acting, dancing, plot, characters, French language, and historic value. Above all I enjoyed Josephine Baker's incredibly subtle singing, and the beautifully written and orchestrated songs. And the background music is also superb. The whole movie has an atmosphere of generosity and good cheer, and a pleasant absence of Hollywood glitter. They really don't make them like this anymore. Not for those who want blockbusting glamor. This is a modest film, but there is charm in modesty. Less is more.

ZOUZOU, a young, vivacious Creole laundress impresses all around her with her talent & wit. Longing for the love of her handsome adopted brother, she instead finds the possibility of enormous success in the musical theater...

The marvelous Joséphine Baker is perfectly cast in the title role in this very enjoyable French film. With her enormous eyes & infectious smile, she connects with the viewer's heartstrings immediately. Her over-sized personality & obvious joy of performing make her a pure pleasure to watch. Here, Baker makes us care about what's happening to poor Zouzou, during her trials & triumphs.

Gallic star Jean Gabin is effective as Zouzou's seaman brother, but this is really Baker's time to shine, and he nicely underplays his scenes.

The film is well made, looking a little reminiscent of Busby Berkeley movies being produced at the same time in America - although unlike American films of this period, ZOUZOU hasn't any racism. It should be pointed out that there was no Hays Office or Production Code in France. Some of the dialogue & action is rather provocative, but it must be admitted that seeing Baker, strategically covered with tiny white feathers, sitting on a swing singing 'Haiti,' is one of the cinema's more memorable moments.

Joséphine Baker was born in St. Louis in 1906, into a very poor family. Her talent & driving ambition, however, soon pushed her into moving East and she was briefly a cast member of the Ziegfeld Follies. Realizing that America in the mid-1920's held great limitations for a gifted Black woman, she managed to get herself to Paris, where she eventually joined the Foliés-Bergeres & Le Negre Revue. The French adored her and she became a huge celebrity. A short return to America in 1935 showed Baker that things had not changed for African-Americans. She returned to France, became a French citizen & worked for the Resistance during the early days of the War. Baker relocated to Morocco for the duration and entertained Allied troops stationed there.

After the War, Baker's fortunes began to slide and she faced many financial & personal difficulties. For a while, she was even banned from returning to the United States. Finally, Baker accepted an offer from Princess Grace of Monaco to reside in the Principality. Joséphine Baker was on the verge of a comeback when she died of a stroke in 1975, at the age of 68.

Having appeared in only two decent films - ZOUZOU & PRINCESSE TAM TAM - Baker is in danger of becoming obscure. But she deserves her place alongside Chevalier, Dietrich & Robeson as one of her generation's truly legendary performers.