Word: taxis
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...Clair won his first fame with a simple love story. Sous Les Toits de Paris, his second fame and third with brilliant satiric farragos, Le Million and A Nous La Liberté. July 14 is a simple love story of a blonde flower-seller (Annabella) and a taxi-driver (Georges Rigaud). Across the street in the shadow of Montmartre they fall in love on July 13th. They talk in the street, that night go to the street ball after she has lost her job in a cabaret for slapping an old drunkard (Paul Olivier). That night the taxi-driver...
Good shots: The street crowd dancing in the drizzle under umbrellas; children running down the hill stairway to get a paper lantern; Raymond Cordy, his taxi bumped from behind, stopping, starting to argue before he gets his head out the window; drunken Paul Olivier terrifying the other patrons of a cabaret by fondling a revolver with a view to suicide, readily giving up to the headwaiter, then pulling a second from another pocket; The final shot from above the deserted street in which wait the abandoned cab and flower cart...
...does it with a savagely sentimental reluctance. The stories in her latest collection illustrate both tendencies. Some of them: A horse-faced trained nurse keeps her long upper lip brightly firm while she takes contemptuous kindness as if it were not contempt. A cast-off inamorata soliloquizes in a taxi. Friends of the family are puzzled when a Perfect Couple, long married, split up for the valid but private reasons that he cannot stand her long fingernails, she his audible yawns. A wife from whose life the glory has departed clings to her faith in the glamour of actresses...
...Pausing a moment, he will reach into his pocket, pick out the cigar he had not smoked during some faculty meeting and give it to the blind news dealer. Again the puff, the cane, and the bow legs swing into action, as their owner heads for home. Even the taxi men may smile. They know him. He is "the stout feller with the black stick who lives in the red house on Sparks...
...handling the realism that has been cinema's most noteworthy development since talkies. Unsympathetic to drawing room comedy, Cinderella romance, mechanical spectacle or pure pornography, Producer Zanuck likes to deal lightheartedly with episodic scenarios about lively, colorful plebeians-with James Cagney, Edward G. Robinson, William Powell impersonating taxi-drivers, reporters, gamblers, shysters. When Zanuck left Warners, Producer Joe Schenck, who recently has been interested in horse racing at Agua Caliente, furnished Zanuck with cash to produce his pictures at United Artists' studio (like Samuel Goldwyn, Mary Pickford, Charles Chaplin, Douglas Fairbanks Sr.). Suspected of intending a campaign...