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Under the Roofs of Paris

Original title: Sous les toits de Paris
  • 1930
  • Not Rated
  • 1h 36m
IMDb RATING
7.0/10
2.6K
YOUR RATING
Under the Roofs of Paris (1930)
Albert is smitten for Pola but ends up wrongly committed in jail, in the meantime her affections are sought after by his friend, and on his release both love and friendship must be tested.
Play trailer5:10
1 Video
15 Photos
Period DramaComedyDramaMusicalRomance

Albert is smitten for Pola but ends up wrongly committed in jail, in the meantime her affections are sought after by his friend, and on his release both love and friendship must be tested.Albert is smitten for Pola but ends up wrongly committed in jail, in the meantime her affections are sought after by his friend, and on his release both love and friendship must be tested.Albert is smitten for Pola but ends up wrongly committed in jail, in the meantime her affections are sought after by his friend, and on his release both love and friendship must be tested.

  • Director
    • René Clair
  • Writer
    • René Clair
  • Stars
    • Albert Préjean
    • Pola Illéry
    • Edmond T. Gréville
  • See production info at IMDbPro
  • IMDb RATING
    7.0/10
    2.6K
    YOUR RATING
    • Director
      • René Clair
    • Writer
      • René Clair
    • Stars
      • Albert Préjean
      • Pola Illéry
      • Edmond T. Gréville
    • 18User reviews
    • 27Critic reviews
  • See production info at IMDbPro
    • Awards
      • 1 win total

    Videos1

    Trailer
    Trailer 5:10
    Trailer

    Photos15

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    Top cast17

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    Albert Préjean
    Albert Préjean
    • Albert
    Pola Illéry
    Pola Illéry
    • Pola
    Edmond T. Gréville
    • Louis
    • (as Edmond Gréville)
    Bill Bocket
    • Bill
    Paul Ollivier
    Paul Ollivier
    • Un client
    Gaston Modot
    Gaston Modot
    • Fred
    Delphine Abdala
    • La buraliste
    • (uncredited)
    Raymond Aimos
    Raymond Aimos
    • Un gars du milieu
    • (uncredited)
    Raymond Blot
    • Un membre de la bande à Fred
    • (uncredited)
    Thomy Bourdelle
    Thomy Bourdelle
    • François
    • (uncredited)
    Léon Courtois
    • L'inspecteur
    • (uncredited)
    Édouard Francomme
    • Un membre de la bande à Fred
    • (uncredited)
    André Michaud
    • Un agent
    • (uncredited)
    Jane Pierson
    Jane Pierson
    • La dame du premier
    • (uncredited)
    Louis Pré Fils
    Louis Pré Fils
    • Le locataire du troisième
    • (uncredited)
    Eugène Stuber
    • Un membre de la bande à Fred
    • (uncredited)
    Louis Zellas
    • Le consommateur jaloux
    • (uncredited)
    • Director
      • René Clair
    • Writer
      • René Clair
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews18

    7.02.6K
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    Featured reviews

    10lionel-libson-1

    A cinematic love letter to Paris

    The great French film actor Jacques Tati made several films that tried to capture a Paris that disappeared even before World WarII. It was a world best seen through the gifted photography of Atget and Brassai. A world of intimacy, silent streets, virtually no traffic, limited means, but unlimited pleasures. A wonderful opening shot glides across rooftops to join a cluster of ordinary Parisians enjoying a singalong, an odd but compelling precursor of karaoke and rock concerts, but untarnished by special effects or hype. There is a sense that we are witnessing a street version of Lautrec's Moulin Rouge.

    The cinematography is extraordinary. It can only be compared to Fritz Lang's "M", or the "Third Man". Very little actually happens and dialogue is used sporadically. Yet we find ourselves caring very much about the people about whom we know so little.

    An unforgettable film.
    7planktonrules

    Strong on technique....relatively weak on story

    "Under the Roofs of Paris" is a film written and directed by René Clair. His direction is lovely--with some creative and lovely camera-work. As far as the story goes, it seems a bit thin.

    The film begins with Pola being vigorously dated by Fred. In other words, the thug Fred isn't about to take no for an answer--and Pola is naturally creeped out by him. Ultimately, Fred steals her apartment key and Pola is understandably afraid to return home. When she bumps into Albert, he takes pity for her and takes her home. Over time, they fall for each other. However, Albert is arrested (thanks to his friend Emil) and Fred isn't about to allow Albert and Pola to be together. What's to come of them?

    Technically, the film is a mixed bag--though I really cannot fault the film for its deficits. Although the film is part sound and part silent, films outside the United States took much longer to shift to all-talking pictures--so I accept that French films still were making the transition. Sound-wise, this 1930 film is very similar to 1927's "The Jazz Singer"--with a few songs and a bit of dialog but otherwise being essentially a silent film. However, what was very advanced was the camera work and the crane shots--they were very impressive and the film sure looked great.

    Apart from the technical, the film had a story that seemed a bit weak. There isn't a lot of depth to the characters, they aren't necessarily likable and I didn't feel all that involved with them. So, overall, it is worth seeing but not a must-see--and not as good as some of the director's other efforts.
    10zetes

    It's hard to describe how beautiful and perfect this movie is

    René Clair's early sound films are amongst the best ever made. Le Million (1931), Quatorze Juillet (1933), and Under the Roofs of Paris (1930) are masterpieces of musical comedy and romance (I leave out perhaps his most famous, À nous la liberté, which I need to see again). Under the Roofs of Paris is the loose but good story of a young street singer (Albert Préjean) who falls in love with a girl (Pola Illéry). He has an uneasy relationship with a couple of pickpockets (including Gaston Modot, who also made L'Âge d'or with Buñuel the same year) who like to work when he's demonstrating his talent. In the film's opening scene, there is an amazingly edited sequence of one of these men at work. Everyone wants Pola, including Albert's best friend, Louis, and when Albert is framed for burglary, they don't think twice about going after her. Clair's direction moves like silk. It's so supple. The camera movements, full of crane shots and pans, is technically stunning, especially for the time but even now. And the use of sound is absolutely revolutionary. It's more or less half silent, half talkie. Unlike many early sound films, Clair keeps the dialogue to a minimum, so it's never clunky. Characters only speak when they have to; at other times, they gesture. The film is often described as a musical, but it is not. There are two songs, and the music arises diagetically from an accordion player. The music, and the use of music, are quite amazing. This is one of the most wonderful movies ever made.
    keekeedee

    this film shows a true relationship, no matter how messed up it can be.

    --- this film changed my views on b&w, i first saw this when i was a wee lass of 13, awkward and shy, all i had to do with myself was watch late- night t.v. i cried so hard at the end of the film i thought for sure i'd wake my mum, thank god CBC showed it again not long after that, and like the big geek i was, and probably still am, i taped it, i liked the rawness of it, the sound wasn't very good, but it didn't matter, still doesn't, i would love to make a movie that has this same feeling the absolut "realness" i dislike the crud hollywood keeps churning out, but , the fact remains that i live in this time, and am almost forced to swallow the disgraceful porridge that is cinema. it's christmas day, i think i'll go slip on my "under the rooftops of paris" and dream of a time when film still had a heart!!
    7lee_eisenberg

    song of France

    René Clair's "Sous les toits de Paris" ("Under the Roofs of Paris" in English) manages to strike the right balance between happy and gritty. This jolly musical tells the story of a love affair between street singer Albert and Romanian immigrant Pola. Or at least, they attempt a romance. They're surrounded by all manner of lowlifes. This is not the gay Paree that we expect.

    Released when talkies were still in their relative infancy, the movie has sound scenes, but also silent ones. It finds the right balance between them. Moreover, the characters are complex if lowly individuals. Watching it all these years later, I wonder which direction French cinema would've taken had World War II not happened.

    Anyway, outstanding movie. Not the greatest by any stretch, but still impressive.

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    Related interests

    Emma Watson, Saoirse Ronan, Florence Pugh, and Eliza Scanlen in Little Women (2019)
    Period Drama
    Will Ferrell in Anchorman: The Legend of Ron Burgundy (2004)
    Comedy
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drama
    Julie Andrews in The Sound of Music (1965)
    Musical
    Ingrid Bergman and Humphrey Bogart in Casablanca (1942)
    Romance

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      The opening sequence and the street scenes were filmed in a studio.
    • Quotes

      Albert, a young street singer: [On seeing Pola bedding down on his bedroom floor] Okay, take the bed, I'll sleep on the floor.

    • Connections
      Featured in Les dossiers de l'écran: Boulevard du crépuscule (1969)
    • Soundtracks
      C'est pas comme ça
      Music by Raoul Moretti

      Lyrics by René Nazelles

      Performed by Albert Préjean

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    FAQ15

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    Details

    Edit
    • Release date
      • December 15, 1930 (United States)
    • Country of origin
      • France
    • Languages
      • French
      • Romanian
      • English
    • Also known as
      • Po krovovima Pariza
    • Filming locations
      • Epinay Studio, Seine-Saint Denis, France
    • Production company
      • Films Sonores Tobis
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 36m(96 min)
    • Color
      • Black and White

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