Marie Bell

French stage and film actress Marie Bell (1900-1985) played elegant roles in late silent and early sound films. She is best known for her work in film classics such as Jacques Feyder's Le Grand Jeu (1934) and Julien Duvivier's Un Carnet de Bal (1937).


Vintage postcard, no. 7.


French postcard by J.R.P.R., Paris, no. 303. Marie Bell, Sociétaire of the Comédie Française, as Suzanne in the French silent film Figaro (Gaston Ravel, 1929), based on the play by Beaumarchais.


French postcard by Editions Cinémagazine, no. 860. Marie Bell in the early sound film La nuit est à nous/The Night Belongs To Us (Roger Lion, Carl Froehlich, Henry Roussell, 1930). It was the French version of the German film Die Nacht gehört uns (1929) by Froehlich and Roussell. Both versions were shot in Berlin. The film, based on a play by Henri Kistemaeckers, tells about a female daredevil in car races, Bettine Barsac, who has a car accident but is saved by an unknown man. Soon after they meet again, but he proves to be a married man. Bell's co-stars were Henry Roussell, Jean Murat and Sylvie.


French postcard. Photo: collection: Ciné Miroir. Marie Bell in Un carnet de bal/Dance Program (Julien Duvivier, 1937)


French postcard by SERP, Paris, no. 61. Photo: Studio Harcourt.

French resistance

Marie Bell was born Marie-Jeanne Bellon-Downey in Bègles in the Gironde in 1900. With her Irish father, she spent her childhood between Bordeaux and England. At 13 she made her stage debut as a dancer at the London Pavillion. Back in France, she was trained at the Conservatoire de Bordeaux (Bordeaux Conservatory) and then at the Conservatoire de Paris (Paris Conservatory). There she won the First Prize in 1921.

She appeared in such silent films as Paris (René Hervil, 1924) with Dolly Davis, and Madame Récamier (Tony Lekain, Gaston Ravel, 1928) with Françoise Rosay. After appearing in films for four years Bell joined the distinguished Comedie-Française and would stay there till 1953. She was mainly a stage actress, but she became a leading film actress in France when the sound film arrived, playing in one film after another.

Her early sound films include La nuit est à nous/The Night is Ours (Henry Roussel, 1929) with Jean Murat, L'homme qui assassina/The Man Who Committed the Murder (Kurt Bernhardt, Jean Tarride, 1930) with Jean Angelo, and L'homme à l'hispano/The Man in the Hispano-Suiza (Jean Epstein, 1932).

Her best-remembered roles are in the superior Foreign Legion melodrama Le grand jeu/The Full Deck (Jacques Feyder, 1934) opposite Pierre Richard-Willm and Un carnet de bal/Dance Program (Julien Duvivier, 1937) opposite Louis Jouvet and Fernandel.

During the German Occupation of France (1940-1944), she participated in the French resistance as one of nine directors of the Front National du Théatre.


French postcard by A.N., Paris, no. 680. Photo: Studio G.L. Manuel Frères.


French postcard by J.R.P.R., Paris, No. 307. Photo Roger Forster / Franco-Film. Ernst/Edmond Van Duren, Arlette Marchal and Marie Bell in the French silent film Figaro (Gaston Ravel, 1929), based on the play by Beaumarchais.


French postcard by J.R.P.R., no. 309, Paris. Ernst Van Duren in the French silent film Figaro (Gaston Ravel, 1929), based on the play by Beaumarchais. Van Duren played the title role. Location shooting was done at the Château de Rochefort-sur-Yvelines.


French postcard by Editions Cinémagazine, no. 766. Photo: Schmoll. Publicity still for La nuit est à nous/The Night Belongs To Us (Roger Lion, Carl Froehlich, Henry Roussell, 1930).


Vintage photo-postcard. Marie Bell horse riding while acting at the Pisorno film studios at Tirrenia, near Livorno. August 1935. The photo may have been taken during the shooting of the multi-version film Sous la terreur/Fiordalisi d'oro, shot in 1935-1936 at the Tirrenia studios. The Italian version was shot by Giovacchino Forzano, and the French one by Marc Cravenne and Forzano.

Luchino Visconti

Since 1934, Marie Bell was the director of the Théâtre des Ambassadeurs and from 1958 till her death she was the director of the Theatre du Gymnase, which now bears her name. Her interpretation of the role of Phèdre in the tragedy by Jean Racine was highly noted. Author André Malraux was cited in the magazine L'Avant-Scène n°34": "Seeing Marie Bell in 'Phèdre' is a unique opportunity for anyone who wants to know what is the French genius."

She was best known as a classical actress, but she was not afraid to appear in pieces of avant-garde theatre, such as 'Le Balcon' (1960) written by Jean Genet and directed by Peter Brook.

After years of absence, she returned to the cinema with a small part in Il Gattoparde/The Leopard (Luchino Visconti, 1963) and as the mad mother of Sandra (Claudia Cardinale) in Luchino Visconti's film Vaghe stelle dell'Orsa/Sandra (1965).

In 1969 she was a member of the jury at the Cannes Film Festival. She was awarded the Ordre national de la Légion d'honneur (Legion of Honour) by President Charles de Gaulle for her valiant work in the French Resistance.

Her final film appearance was in a film by Jean-Claude Brialy, Les volets clos/Closed Shutters (1972). Marie Bell died in 1985 in Neuilly-sur-Seine, France. She was married to film actor Jean Chevrier. She was buried alongside her husband at the Monaco Cemetery not far from Josephine Baker.


French postcard by A.N., Paris, no. 733. Photo: Paramount.


French postcard by Editions Cinémagazine, no. 988. Photo: Paramount.


French postcard by Editions Chantal (EC), Paris, no. 80. Photo: Piaz.


French postcard by Editions Chantal, Paris, no. 591.


French postcard by PC Paris, no. 84.

Sources: Sandra Brennan (AllMovie), Davyd (Artistes1940 - French), Ciné-Ressources (French), Wikipedia and IMDb.

This post was last updated on 8 May 2023.

Figaro (1929)

Famous dancer Ernst (Edmond) Van Duren, actresses Arlette Marchal and Marie Bell, and the Romanian actor Genica Missirio played the lead roles in the late silent French film Figaro (Gaston Ravel, 1929). It is an adaptation of the Pierre Beaumarchais play 'The Marriage of Figaro' (1778). Location shooting was done at the Château de Rochefort-sur-Yvelines.


French postcard by J.R.P.R., Paris, no. 99. Photo: Roger Forster. Genica Missirio in Figaro (Gaston Ravel, 1929).


French postcard by J.R.P.R., Paris, no. 301. Photo: Roger Forster. Ernst Van Duren as Figaro in Figaro (Gaston Ravel, 1929).


French postcard by J.R.P.R., Paris, no. 303. Marie Bell, sociétaire of the Comédie Française, as Suzanne in Figaro (Gaston Ravel, 1929).


French postcard by J.R.P.R., Paris, no. 304. Photo: Roger Forster. Genica Missirio, Marie Bell, and Ernst Van Duren (up in the tree) in Figaro (Gaston Ravel, 1929).

Three people were crushed to death in the opening-night crowd

"Gaston Ravel is one of the great undervalued figures of French cinema", Pierre Philippe wrote in the festival catalogue of Il Cinema Ritrovato 2021, and indeed, his Figaro (Gaston Ravel, 1929) is a delicious gem. Philippe: "It's a thrilling example of what French cinema was capable of producing at the dawn of talking pictures, in a tradition of intelligence and clarity, far removed from the avant-garde, by then in its death throes. It was a bold venture from a man sensitive to all the arts, including music hall, since he entrusted the title role to a famous artistic dancer Edmond van Buren. Although Edmond Van Duren was famous at the time. He is now a bit mysterious figure. Together with his dance partner Edmonde Guy, Edmond or Ernst or Ernest was popular all over Europe and the US in the 1920s. He acted in a handful of films, including leads in Manege (Max Reichmann, 1928) and Princesse Mandane (Germaine Dulac, 1928), but in 1930 he committed suicide. Figaro (Gaston Ravel, 1929) was his final film. The other stars were Arlette Marchal as Rosine, Marie Bell as Suzanne, Génica Missirio as Bogaerts, and Tony D'Algy as the Count of Almaviva. Other actors were a.o. José Davert and Jean Weber.

Both Wikipedia and IMDb list Tony Lekain as the co-director of Figaro, but not according to Il Cinema Ritrovato and Ciné-Ressources. The latter mentions Lekain only as the set designer. The cinematography was by Albert Duverger, costumes by Georges Benda. Pierre Philippe: ["Ravel's] boldness extended to to the management of the lavish and beautiful design, particularly the costumes, designed by the illustrious J.K. Benda (known for his magnificent work on La Kermesse héroïque by Jacques Feyder and Le Joueur d'echecs by Jean Dréville." Sound finished the career of Gaston Ravel. Philippe: "He died in Cannes in 1958 with his friend and co-producer Tony Lekain nearby. He was practically forgotten after 25 years deprived of the art form that he had so eminently served."

Figaro (Gaston Ravel, 1929) is an adaptation of the Pierre Beaumarchais play 'La Folle Journée, ou Le Mariage de Figaro' (The Marriage of Figaro), with material also used from its prequel and sequel. This play is the second in the Figaro trilogy, preceded by 'The Barber of Seville' and followed by 'The Guilty Mother'. 'The Marriage of Figaro' opened to enormous success; it was said to have grossed 100,000 francs in the first twenty showings. The theatre was so packed that three people were reportedly crushed to death in the opening-night crowd. Eight years later, the play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Wolfgang Amadeus Mozart, also called 'The Marriage of Figaro' (1786).

The Barber of Seville: The Spanish count Almaviva has fallen in love at first sight with the girl Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student and attempts to woo her. His plans are foiled by Rosine's guardian, Doctor Bartholo, who keeps her locked up in his house and intends to marry her himself. The Count's luck changes, however, after a chance reunion with an ex-servant of his, Figaro, who is currently working as a barber and therefore has access to the Doctor's home. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk. The story culminates in the marriage of the Count and Rosine.

The Marriage of Figaro: Figaro's marriage resumed three years after the end of The Barber of Seville when Figaro was promised to become Susanna's husband; both characters are part of the Count's staff in his home. In the three years since Figaro has helped to forge the marriage of the Count and Rosina, the Count has already been bored with his marriage but has noticed Susanna's beauty. The Count tries to assert the Ius primae noctis (the right of the first night), before Figaro's honeymoon, but Figaro is alert. They dress the Countess' page Chérubin as Susanna, but then the Count knocks on the door. Quickly the page escapes through the window, Susanne substitutes for him and the Count offers an apology.

The Guilty Mother: Countess and Chérubin spent a night together, but she thought it wrong, so he left for war and got himself killed. While dying he wrote a final letter, which the Countess kept in a secret drawer in a box made by the Irishman Bégearss. The Countess, though, became pregnant with Chérubin's child. The Count has been suspicious all these years that he is not the father of Léon, the Countess's son, and so he has been rapidly trying to spend his fortune to ensure the boy won't inherit any of it, even having gone so far as to renounce his title and move the family to Paris. As he has nevertheless held some doubts, and therefore has never officially disowned the boy or even brought up his suspicions to the Countess. Meanwhile, the Count has an illegitimate child of his own, a daughter named Florestine. Bégearss wants to marry her, and to ensure that she will be the Count's only heir, he begins to stir up trouble over the Countess's secret. Figaro and Suzanne, who are still married, must once again come to the rescue of the Count and Countess; and of their illegitimate children Léon and Florestine, who are secretly in love with each other.


French postcard by J.R.P.R., Paris, no. 305. Photo: Roger Forster. Arlette Marchal and Tony D'Algy in Figaro (Gaston Ravel, 1929).


French postcard by J.R.P.R., Paris, no. 307. Photo: Roger Forster. Arlette Marchal, Ernst van Duren and Marie Bell in Figaro (Gaston Ravel, 1929).


French postcard by J.R.P.R., Paris, no. 308. Arlette Marchal as Rosine in Figaro (Gaston Ravel, 1929).


French postcard by J.R.P.R., Paris, no. 309. Photo: Roger Forster. Ernst van Duren and Marie Bell in Figaro (Gaston Ravel, 1929).

Sources: Pierre Philippe (Il Cinema Ritrovato 2021), Ciné-Ressources (French), Wikipedia and IMDb.

This post was last updated on 15 August 2022.

Un carnet de bal (1937)

In 2015, we continue our weekly series of film specials. Today a post about a poetic French classic, Un carnet de bal/Dance Program (1937), directed by the great Julien Duvivier. Marie Bell plays a woman who goes back in the past, in search of her long lost dance partners.


Marie Bell. French postcard. Photo: collection Ciné Miroir.


Harry Baur. French postcard by Edition Chantal, Paris. Photo: publicity still for Un Carnet de Bal/Dance Program (Julien Duvivier, 1937).

A turning point in her life

Un Carnet de bal starts romantically on the banks of a fairy tale lake surrounded by mountains, where the still young and rich widow Christine Sugère (Marie Bell - at the time 37) lives alone after the death of her husband.

She realizes she has possibly wasted her life by marrying the wrong man.

Just for the fun of it, she decides to find out about the men who danced with her during her first ball when she was 16. The ball was a turning point in her life

Following her old Dance Card (carnet de bal), Christine pays a visit to those forgotten dance partners, one by one. She is not only surprised to see how they have fared, but also discovers the impact she had, unknowingly, on the feelings and the destiny of these men.

The dream cast of Un carnet de bal includes such legendary names of the French cinema as Marie Bell, Fernandel, Harry Baur, Louis Jouvet - in one of his best roles, Pierre Blanchar, Raimu, Pierre Richard Willm, Francoise Rosay... All of them at the peak of their form.

Julien Duvivier created a ‘portmanteau’ film with seven flashbacks, one prologue and a short epilogue. The parts are held together musically by Maurice Jaubert's haunting theme melody, the waltz Valse Grise. The postcards in this post show five of Christine's dance partners, who are all a subject for one of the segments.


Fernandel. French postcard by Edition Chantal, Paris. Photo: publicity still for Un Carnet de Bal/Dance Program (Julien Duvivier, 1937).


Pierre Blanchar. French postcard by Edition Chantal, Paris. Photo: publicity still for Un Carnet de Bal/Dance Program (Julien Duvivier, 1937).

Ruined lives, regrets, embittered human wrecks

Un carnet de bal was a box office success in France and the US. Modern reviewers have mixed opinions about the film.

James Travers at French Film Site: "Un carnet de bal is a good example of French cinema of the late 1930s, and one of the earliest successful attempts at the episodic film which became so popular in subsequent decades. The multi-part structure of the film (effectively a series of loosely connected vignettes) is a little unsatisfying, but the individual stories are themselves almost perfectly formed."

DB DuMonteil however is a a Duvivier fan and rates the film at IMDb with the maximum of 10 stars: "Leonard Maltin gives a four stars rating to this 1937 movie, and all we can do is approve of his judgment. The movie of nostalgia, of time passing by, of disenchantment, Un carnet de bal is all this and more."

In her search, Christine discovers ruined lives, regrets, embittered human wrecks. DB DuMonteil: "As always in Duvivier's work, the harder they fall, the better the sketches are. For it is basically a movie made up of sketches, Julien Duvivier's métier. All youth ideals have gone down the drain: the brilliant medicine student has become an abortionist; the lawyer with bright prospects now has a lousy shady cabaret; one of the woman's beaus is dead and his mother gone nuts acts as if he's still alive. Two of them have escaped to a doomed fate: but one has become a priest and the other keeps his love for something else than women."

At the 1937 Venice International Film Festival, Un carnet de bal won the award for best foreign film. In 1941, Duvivier remade his own film when he was in exile in Hollywood. In Lydia (Julien Duvivier, 1941) the title role was played by Merle Oberon, while Alan Marshall, Joseph Cotten and Hans Jaray played three of her former dance partners.


Pierre Richard Willm. French postcard by Edition Chantal, Paris. Photo: publicity still for Un Carnet de Bal/Dance Program (Julien Duvivier, 1937).


Raimu. French postcard by Edition Chantal, Paris. Photo: publicity still for Un Carnet de Bal/Dance Program (Julien Duvivier, 1937).

Sources: James Travers (French Film Site), DB DuMonteil (IMDb), Eduardo Casais (IMDb), Wikipedia (French) and IMDb.