Princesa Tam-Tam

The story in this feature is an interesting re-working of the familiar 'Pygmalion' story, making some fairly imaginative changes in the setting and details to add some new themes to the story. It is also a decent vehicle for the vivacious and multi-talented Josephine Baker. Although the material does not give her a chance to display her full range of talents (which would probably take a stage show, rather than a movie), it does provide her with some pretty good musical numbers, and it gives her a role that is a good fit.

Albert Préjean and Robert Arnoux make a good team, as the writer and his collaborator who travel to Africa so that Préjean's character can benefit from a change of atmosphere. As the Bedouin Alwina, whom the two Frenchmen meet, Baker's spirited energy works very well. As the story progresses, the kinds of slights and frustrations that her character faces inevitably remind you of the undeserved problems that Baker herself had to contend with in her own life, giving it an interesting extra dimension.

Préjean and Arnoux balance things well with their light, bantering approach. Préjean, in particular, does a good job with his character, showing that there is some sensitivity underneath his somewhat lazy, self-absorbed exterior.

The story moves at a good pace, leading up to the climax at the Maharajah's lavish party, which includes a couple of creative touches. The concluding series of plot turns resolves things in a light fashion, while also suggesting a couple of ideas which, as long as you are careful not to misunderstand them, are worth thinking about. The movie avoids taking itself too seriously, and that helps it work rather well.

....but the parts she was offered were really poor."Princesse Tam-Tam" directed by third-rate artist Edmond Greville is no exception.On the plus side,there is a screenplay and even an unexpected twist at the end.It reminds me of "Pygmalion" sometimes as one user has already pointed out.

But the main reason is to show Baker in the music hall where she belongs.There's a long scene there and it may bore people who do not like this kind of show.

There's no real racism,but the natives from Africa are looked upon as "big children" by the white man .Who could blame the script writers? In Hergé's comic strip "Tintin au Congo" ,at the beginning of the thirties ,it was all the same.

A French novelist, disgusted by his wife's society friends, goes to North Africa for a respite. There he encounters a vivacious & talented Bedouin girl, living in poverty. To spite his wife, who is romancing a Maharajah, he decides to train & educate the girl, and present her to Parisian society as the PRINCESSE TAM TAM...

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

Albert Préjean does very well as the Pygmalion to Baker's Galatea; also effective are Georges Peclet as a half-caste servant, and Jean Galland as the mysterious Maharajah.

The film is very handsome & 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, PRINCESSE TAM TAM 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 Baker singing & dancing to 'Under The African Sky,' as well as her culminating performance in the Parisian nightclub, are two of the cinema's more memorable moments.

Actual location filming in Tunisia greatly enhances the film.

Josephine 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. Josephine 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.

Josephine Baker is such a joy to watch. She exudes grace, joy, and energy, and it was a treat to see her sing and dance a couple of times here. Hey, I could watch her skip among the Roman ruins in Dougge, Tunisia with the little kids for hours, and wish the action had remained there longer. What's weird and damn unfortunate is that despite her character being so poised and speaking French fluently, she's still referred to as a "savage" and a "wild animal" many times by the visiting Frenchmen, who are there to help an author get over his writer's block. They hatch an idea to fake an interracial love affair to help with the novel and also to make the author's wife back at home jealous. Meanwhile, she's flirting up a storm with a visiting Maharaja, who is unfortunately played by a white actor in blackface, with similar intentions.

While the film broaches at least the idea of miscegenation, so much so that Joseph Breen refused to pass the film in America (which is laughable in a painful way, and yet so predictable), it really has the two minority characters being used as pawns, and little more. Meanwhile, it has a painful dose of cultural condescension and outright racism in the script, something I haven't seen in other French vehicles for Baker. In an effort to display her inferiority and need of "civilization," they show her needing to learn basic arithmetic and shoveling food into her mouth coarsely, using her hands. Not surprisingly, it all leads to the old "East is East and West is West" crap, and a conclusion that Baker is better off left "uncivilized" in Africa. Argh.

You might wonder about my rating given the attitude the film takes, but the reason for it is simple: Josephine Baker. She's elegant in her singing, radiant in her evening gown, and owns the dance floor, jumping into a musical performance at the end which, while a bit Busby Berkeley-lite, had its moments even before she got out there. The film puts her down as a "savage" but her presence continually contradicts that, and there simply is no comparison to the menial roles given to black performers in America during this period. See it for Baker, and try to ignore the rest.

Until now the most weaker picture of Josephine Baker, apart this was made on mid thirties where they usually didn't make a lavish production, as show on it, something about a fairy tale, the plot is rubbish, serving as Baker's vehicle to explore an African dancing or criticize a usual shallow of the European society, decaying to my point of view, a bit humor all around. largely used it's time, wasn't a movie to remember too often, a dry production, lack of deepness of being thinking is quite absurd, poor attempt to make something unusual, perhaps to Josephine Baker's fans only!!!

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First watch: 2019 / How many: 1 / Source: DVD / Rating: 6.25