Mirror (French: Miroir ) is a 1947 French crime drama film directed by Raymond Lamy and starring Jean Gabin , Daniel Gélin and Martine Carol . It was shot at the Saint-Maurice Studios in Paris . The film's sets were designed by the art director Georges Wakhévitch . It was Gabin's second film following his return to his homeland after serving in the Free French forces after the poorly-received Martin Roumagnac (1946) alongside Marlene Dietrich . The film marks a shift from the doomed men of the pre-war poetic realism that established Gabin as a star to the powerful figures he played from the 1950s onwards.
16-489: Miroir (French "mirror") may refer to: Miroir (film) , 1947 with Jean Gabin Miroir (album) by Marie-Mai 2012 Miroirs , a suite by French composer Maurice Ravel Geography [ edit ] Le Miroir, Saône-et-Loire Le Miroir, hamlet Sainte-Foy-Tarentaise Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
32-496: A double life as a top Paris -based gangster operating out of a flourishing nightclub and casino with a large number of public officials in his pocket. A smooth operator he acts as a fixer for his various associates. In his home life his adopted son is taking his first steps as a lawyer and becomes engaged to a woman from a prominent family. His upper-class wife, his younger children and his mother-in-law add to his air of respectability despite his ordinary roots. Things take
48-455: A former associate who had escaped from prison after serving a sentence for taking part in a raid in 1935. He refused to inform on his colleagues but is outraged that his son, who Lussac had adopted as his own without his authority, is now a lawyer. He taunts Lussac for having betrayed his roots. Lussac shoots him dead. In a final gunfight in the graveyard at his funeral Lussac overcomes his southern gangster rivals before being shot down himself by
64-643: A turn for the worse when a southern gang based in Marseille led by Folco declares war on his own organisation. Blood is shed in a series of fights. The bad publicity from this spills over to his private and business life, intruding into his son's wedding and leading his wife and mother-in-law to turn on him. His former friends in government turn their backs on him. Only his mistress , a singer in his nightclub remains loyal to him, and begs him to go away with her. However he decides to stay and fight his ground. Before his final confrontation with his enemies, Lussac meets with
80-518: The Théâtre des Bouffes Parisiens . His pieces are characterized by rhythmic precision, imagination and flexibility of musical phrases. A. Willemetz, Jacques-Charles, H. Varna and H. Heanson were his lyricists and librettists. Occasionally he also wrote the lyrics. In the 1930s, his operettas were almost immediately translated and performed in Germany, Hungary and Austria as well as on Broadway where Ta Bouche
96-569: The 1920s, he began to compose operettas, 18 in all; his satirical “Ta Bouche” (Your Mouth, 1922) of 1922 was a particular success. The sequels which followed were the "Pas sur la Bouche" (Not on the Mouth, 1925) and the "Bouche a Bouche" (Mouth to Mouth, 1925) and both further established the musical virtuosity of Yvain; the former song rendered by Regine Flory made her also a celebrity. Thereafter, he also wrote great sentimental operettas such as "Chanson gitane" ("Gypsy Song"), many of which were performed at
112-515: The 1930s and 1940s, he became a major success in the United States and several of his pieces appeared in the famous Ziegfeld Follies on Broadway . He also composed music for several films of notable directors such as Anatole Litvak , Julien Duvivier , and Henri-Georges Clouzot . Yvain's music blended with the then "spirit of Paris". Maurice Yvain was born in 1891 into a musical family in Paris. He
128-463: The editor was Germaine Artus, the script supervisor was Jacqueline Loir, the production designers were Roland Berthon and Georges Wakhevitch , the composer was Maurice Yvain , the make-up artist was Boris de Fast , and the general manager was Claude Pinoteau . The film is in black and white and was shot with 35 mm movie film . The aspect ratio of the film was 1.37:1, the Academy ratio . The audio of
144-458: The film was monaural . The duration of the film is 90 minutes. The film was the second French film that Jean Gabin acted in after spending World War II in the United States. The film was the first film that Jacques Sernas acted in. He played a boxer. Miroir was distributed in France by Les Films de la Pléiade and Compagnie Parisienne de Location de Films [ fr ] . The film
160-409: The police. Miroir was produced by Alcina and Sud-Pacifique Films. The assistant director for the film was Raymond Bailly, the dialogue writer was Carlo Rim , the screenwriters were Paul Ollivier and Carlo Rim , the director of photography was Roger Hubert , the sound engineers were Jean Putel and Jacques Carrère, the cinematographer was Marc Fossard , the production director was Marcel Bryau,
176-501: The title Miroir . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Miroir&oldid=1133892128 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Miroir (film) A prominent, respected businessman Pierre Lussac leads
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#1732886759164192-446: Was "Dansez-vous le foxtrot" in 1919. Maurice Chevalier , whom he had met in the army, introduced him to Albert Willemetz and to the popular Mistinguett who sang one of his best-known songs "Mon Homme" (" My Man ") (1920). In 1968, it was sung by Barbra Streisand in the film Funny Girl . He composed several other pieces for Mistinguett, including "En douce" (1920), "La Java" (1922), "J'en ai marre" (1922) and "La Belote" (1925). In
208-521: Was "among the least favored" films to play at the Gaumont-Palace theater. The film was favorably reviewed by Antoine Sire for Paris Fait Son Cinéma . Maurice Yvain Maurice Yvain (12 February 1891 – 27 July 1965) was a French composer noted for his operettas of the 1920s and 1930s. Some of which were written for Mistinguett , at one time the best-paid female entertainer in the world. In
224-470: Was distributed internationally by Les Films du Jeudi. The film was released in France on May 2, 1947. In France, Miroir had box office admissions of 1,776,310. In the book Jean Gabin: The Actor Who Was France , Joseph Harriss described Miroir as a "mediocre gangster movie" and quoted Gabin as saying "I prefer to forget that one." In the book Paris In The Dark: Going To The Movies In The City Of Light, 1930–1950 , Eric Smoodin wrote that Miroir
240-898: Was educated by his father, who played the trumpet in the Orchestre de l' Opéra-Comique . From 1903, he studied at the Conservatoire de Paris where he was a pupil of Louis Diemer and Xavier Leroux . An excellent pianist, he first played as an accompanying pianist at the Casino d'Évian. He went on to play with the orchestra at the Casino de Monte Carlo and in the Parisien Cabaret des Quat'z'Arts . After military service from 1912 to 1919, he returned to Paris where he started to compose songs for light music, operettas, musicals, for films such as Vincent Scotto and Henri Christiné . One of his early successes
256-610: Was presented over a hundred times. Thanks to his success in the United States, several of his pieces appeared in the famous Ziegfeld Follies on Broadway . His "Mon Homme" featured in the 1936 MGM Academy Award -winning film The Great Ziegfeld . He composed music for several films of notable directors such as Anatole Litvak , Julien Duvivier and Henri-Georges Clouzot . Yvain died in 1965 in Suresnes , near Paris. Maurice Yvain's "Catalog of Works" consisted of 25 soundtracks, 21 titles as composer, one title of Indochine (composer of
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