Die Million

"Le Million" is a 1931 musical directed by Rene Clair. It's wonderful that it's available on DVD for audiences to see and enjoy it. The story concerns a starving Parisian artist Michele (Rene Lefevre) who is having a bad day. He is being hounded by every creditor in town, and as his fiancé Beatrice (Annabella) walks into his apartment, he is embracing his model. Then he realizes that he has won the Dutch lottery with his friend Prosper (Jean-Louis Allibert), but the ticket is in his coat pocket, and the coat is gone. The city-wide hunt then begins for the coat, which was taken by Beatrice and given to a needy person, who sold it to the opera singer Sopranelli. There is a hilarious scene in Sopranelli's dressing room as various people try to get the ticket out of the coat pocket. Beatrice and Michele wind up behind some scenery on the opera stage and relate to the duet that's being sung.

This film and Clair obviously influenced such talents as the Marx Brothers, Ernst Lubitsch, and Rouben Mamoulian. All the performances are good, with the beautiful Annabella, a brunette here, a standout as the ballerina Beatrice. Annabella was signed by 20th Century Fox and brought over to America around 1938, made Suez with Tyrone Power, and the two fell in love and decided to get married. In order to dissuade her and his biggest star from marrying, Zanuck offered her several films in Europe, but she refused to leave her fiancée. Zanuck made sure she didn't work much after that, effectively blacklisting her. She had a big Broadway success, worked on behalf of the troops during World War II, and returned to France after her divorce from Power. She retired in 1954. Her radio work with Power, and this film, show what a wonderful actress she was.

Very good film - highly recommended.

The French director Rene Clair, who is often forgotten when the great pioneers of film technique are mentioned, made this innovative film in 1931 in the very early days of sound films. The delightful mix of silent-movie style slapstick, spoken and sung dialogue, opera parody and song, moving camera and inter-cutting obviously influenced Rodgers and Hart and Rouben Mamoulian who a year later attempted the same sort of musical, "Love Me Tonight," with Chevalier at the Paramount Studios in Hollywood. Clair's unique genius is in his ability to twist reality and create a fairy-tale world. In this film he sustains his particular brand of magic from the first model shots of the roofs of Paris to last scenes backstage at the opera. Yes, the story is very silly and highly improbable, but the charm of it, the Parisian charm, is undeniable. Much credit must be given to the cinematographer, the great Georges Périnal who later worked in England and photographed many of the great Alexander Korda films.

Le million (1931)

*** 1/2 (out of 4)

Extremely charming and inventive French comedy takes a simple idea and really expands it to something special. A starving artist name Michel (Rene Lefevre) is being hounded by collectors when he realizes that he's won the lottery. He rushes to get his coat where the ticket is but learns his girlfriend (Annabella) has given it away, which leads to a wild chase in hopes of getting it back. I wasn't sure what to expect when entering this film because I had heard that it contained some pretty strange things but within minutes I was caught up in the story and the way it was being played out. I don't think the movie is laugh out loud funny but it doesn't really need to be. In fact, I think the story could have gone for more slapstick and gotten bigger laughs but, in a strange way, it's smarter than that and goes for something completely different. Having the actors sing their dialogue makes this film come off very fresh today and I can't imagine and fresh and unique it must have been in 1931 when many sound films didn't sound all that great. The delivery of the music is top-notch and many of the "songs" are better than what Americans were hearing in their musicals then. Another major plus are the performances, which are all very charming but Lefevre really carries the thing as he floats around like a feather and really hits all the right moves. The one thing that didn't work too well for me was the rather long sequence at the opera. I thought some of it went on a tad bit too long, although the football scene here was greatly directed.

French director Rene Clair was sad to see the silent era pass by. The veteran filmmaker "quiet" movies were admired during the 1920s, highlighted by his 1928 "The Italian Straw Hat." Clair viewed the early all-talking pictures, based mostly on staged plays, as relying on heavy dialogue. In his mind, the talk, talk, talk of these early audible films dragged down the visuals of what he felt movies were all about.

Clair's first part-talkie, 1930 'Under the Roofs of Paris,' still contained long silent segments to carry the plot forward. For his next movie, an adaptation of a Georges Berr and Marcel Guillemand play, Clair, in his innovative creative mind, not only accepted the new audible technology, his April 1931's "Le Million" turned out to be an inventive French musical comedy that showed the cinematic world how sound could be shaped in a new entertaining way. The tale has a poverty-stricken painter, Michel (Rene Lefevre), discovering his lottery ticket is a winner for one million Dutch florins (that's real cash). But the ticket sits inside his jacket, which he gave to his girlfriend, Beatrice (Annabella), to sew. Sympathetic to a criminal who was running from police, she gave it to him to elude the law.

Clair was one of the few auteurs at the time who wrote their own scripts, directed and edited the final version. Since part of the story deals with a ballerina (Beatrice) and is centered around a stage performance, "Le Million" contains a mix of song-and-dance numbers as well as witty dialogue. Clair was one of the first to have his songs advance the narrative of the plot instead of just stand alone set pieces solely designed to entertain. As film critic Dudley Andrew wrote, "Characters don't walk or gesture so much as half-dance their way from scene to scene."

Another cleaver use of sound occurs during the tussle for the jacket with the ticket still inside. Clair inserts a recording of a rugby crowd's cheers and applause to add an extra layer of comedy to this frenetic film. There are large segments where the visuals are shown with no dialogue, just a background soundtrack, reflecting Clair's love affair with his departed silent movie habits. As movie critic Pauline Kael noted, "no one else has ever been able to make a comedy move with such delicate, dreamlike inevitability. This movie is lyrical, choreographic, giddy--it's the best French musical of its period."

For those skeptics at the time who scoffed at talkies, and nostalgically clung to the hope audio dialogue would go by the way of the dinosaur, "Le Million" was Clair's retort to such thinking. He showed that with imagination and inventive images, including his famous opening shot of the cityscape of Paris, the visual medium could be enhanced by the imaginative use of sound to sustain a highly entertaining, uproariously humorous movie. The editors of "1001 Movies You Must See Before You Die" felt Clair was so successful in the new medium they included "Le Million" in their reference book.

Rene Clair's groundbreaking musical. If you want to see where songs first drove a story this is the place. This is the story of a starving young artist who finds he's won the lottery just as his creditors come calling. Unfortunately his ticket is in his coat, which is in his girlfriends apartment and has been given to an on the run convict who then... oh but that would be telling.

This is a light and frothy story where much of the dialog is sung (most people think this didn't happen until Oklahoma or Andrew Lloyd Webber). Its the sort of movie that they don't make any more, and rarely did when they did. Its sound a film from the early days that plays like a movie from five or six years later. Clair moves his camera around in ways that not even Busby Berkeley was doing (though to be honest comparing the two film makers is unfair since Berkeley was doing essentially stage bound dance numbers and Clair was moving the camera through "the real world"). Its an amazing little movie. and its a charming movie that will just make you smile. Its just a fluffy piece of enjoyment.

I'm sorry I can't say more. Its just a nice little movie and thats really all you need to know.