RAÏMU

(1883-1946)

Actor. Born Jules Auguste Muraire in Toulon in southern France, Raïmu went on to become one of the most beloved character actors in French cinema. He began his career on the stage in Toulon, performing in local café-concerts, quite often doing impressions. His success in that milieu attracted the attention ofSacha Guitry, who brought him to Paris and put him to work in the theater. Raïmu went on to perform in the Folies Bergères as well as the Comédie Française.

Although Raïmu is best remembered as a screen star, it was the theater that launched his film career. He had tried his hand at screen acting during the silent era, appearing in films such as the uncreditedLe Fumiste(1912) andHenri Desfontaines'sL'Homme nu(1913). However, it was through his role inMarcel Pagnol's stage play,Marius, that Raïmu finally caught the attention of the cinema. In 1929, Pagnol apparently invited Raïmu to appear in his production ofMarius(1931), offering him the role of Panisse, Fanny's hapless suitor. However, Raïmu seems to have seen a better match in the role of César, Marius's father, and it was that role he requested. He played César onstage and then onscreen in Pagnol and Alexander Korda's adaptation of the play in 1931. He went on to reprise the role inMarc Allegret's adaptation ofFanny(1932) and Pagnol's adaptation ofCésar(1936), and it is probably the role with which Raïmu is most closely associated.

In addition, Raïmu went on to appear in a number of other memorable roles in various other films. He worked again with Pagnol, appearing inLa Femme du boulanger(1938) andLa Fille du puisatier(1940). He was also a particular favorite of Allegret, who cast him inMam'zelle Nitouche(1931),Le Blanc et le noir(1931),La Petite chocolatière(1932),Gribouille(1937),Parade en sept nuits(1941), andL'Arlésienne(1942).In addition to his close association with Pagnol, Raïmu was associated withLe Réalisme poétiqueor poetic realism. In addition to his work with Allegret, he also appeared inJulien Duvivier'sUn carnet de bal(1937) andUntel père et fils(1943).

For obvious reasons, Raïmu worked with southern directorAndré Hugon, appearing in such films asGaspard de Besse(1935) andLe Héros de la Marne(1939). In addition, Raïmu also worked with Tourneur onLes Gaietés de l'escadron(1932), Pierre Colombier onCharlemagne(1933),Théodore et Cie(1933),Le Roi(1936), andLes Rois du sport(1937), Raymond Bernard onTartarin de Tarascon(1934),Roger RichebéonJ'ai une idée(1934) andMinuit place Pigalle(1934),André BerthomieuinLe Secret de Polichinelle(1936),La Chaste Suzanne(1937), andLes Nouveaux riches(1938), Guitry inFaisons un rêve(1937),Jean GrémilloninL'Étrange Monsieur Victor(1937),Christian-Jacquesand Guitry inLes Perles de la couronne(1937),Léo JoanneninVous n'avez rien à déclarer(1937), Fernand Rivers inLe Fauteuil 47(1937), Jean Boyer inNoix de coco(1939), Jeff Musso inDernière jeunesse(1939), Alexander Esway inMonsieur Brotonneau(1939) andL'Homme qui cherche la vérité(1940),Georges LacombeinMonsieur La Souris(1942),Henri DecoininLes Bienfaiteurs(1942) andLes Inconnus dans la maison(1942), Raymond Leboursier inLes Petits riens(1942), and René Le Henaff inLe Colonel Chabert(1943) andLes Gueux au paradis(1946). Orson Welles once called Raïmu the greatest French actor who ever lived. While some would, no doubt, dispute that assessment, the range of roles Raïmu played, from duped husband to jovial mercurial barkeeper to tough prosecutor, seems to give credence to that judgment. However, for many filmgoers throughout the world, it is the barkeeper that stole the show.