Maurice Chevalier


Also found in: Dictionary, Thesaurus, Wikipedia.
Maurice Chevalier
Maurice Auguste Chevalier
Birthday
BirthplaceParis, France
Died
Occupation
Singer, actor, dancer

Chevalier, Maurice

(shəvăl`yā, Fr. mōrēs` shəvälyā`), 1888–1972, French singer and film actor. He made his debut in 1900 singing and dancing at the Casino de Tourelles, Paris. As the dancing partner of Mistinguett and as the star of several Paris music halls, he won his public by his charm and inimitable smile; by 1928 his reputation was international. He became famous for his portrayal of the debonair man-about-town, typically sporting a straw hat and a cane. Among his later films are Love in the Afternoon (1956), Gigi (1958), Can-Can (1959), and Fanny (1961).

Bibliography

See his autobiographies With Love (1960) and I Remember It Well (1970); study by G. Ringgold and D. Bodeen(1973).

Chevalier, Maurice

 

Born Sept. 12, 1888, in Paris; died there Jan. 1,1972. French singer, film actor.

From 1912 to 1918, Chevalier worked in music hall comedy productions; he later performed on the stage as a chanteur. He became famous in the late 1920’s and early 1930’s. Chevalier began acting in motion pictures in 1911, appearing in such films as The Love Parade (1931), The Merry Widow (1934), Le Silence est d’or (1947; released in the USA under the title Man About Town), Love in the Afternoon (1956), Can-Can (1962), Fanny (1963), and Captain Grant’s Children (1965, in the role of Paganelle).

WORKS

Ma Route et mes chansons. Paris [1950],
Autobiographic Paris, 1956.
In Russian translation:
“Masterovoi Frantsii.” Teatr, 1974, nos. 7,8,11.

REFERENCE

Pagnol, M. and R. Carlès. Maurice Chevalier. Paris, 1950.
Mentioned in ?
References in periodicals archive ?
Maurice Chevalier was a good friend of Ron Kennedy, the headmaster of Whickham County School, Front Street, Whickham.
Well-known importer Terry Theise characterizes the image of German wines among Americans this way: "When we say the name of a French wine, we feel like Maurice Chevalier.
While one is tempted to feel sympathy for the shopkeeper, the story is a reminder that, in the words of Maurice Chevalier in Gigi, "little girls get bigger every day".
Specifically Cervantine critics who merit her extended attention are Carroll Johnson and his ego-psychology theory of Don Quixote's mid-life crisis and defense against the sexual tension aroused by this niece; Louis Combet's study of the Cervantine oeuvre as a whole under the sign of a Deleuzian masochism, Ruth El Saffar's various Jungian and feminist readings of Cervantes; the combination of psychoanalytic insights and folkloric/popular sources of Maurice Chevalier and Maurice Molho, and Edmund Cros' blend of psychocriticism and sociocriticism.
The idea of Frenchness still evokes elitism, privilege, the diplomat class, savoir-faire and luxury--the gamine Gigi learning how to spot good emeralds while Maurice Chevalier warbles leeringly nearby.
Before looking in more detail at how specific comic songs were used either for overt propaganda purposes or as indirect commentary on the anxieties caused by the Occupation of France, and studying the contrasting war-time careers of Maurice Chevalier and Pierre Dac as prime examples of the ambiguous, shifting posture of the star entertainer, it is worth briefly noting some further problems that confront the historian of this subject.
The French version of Lubitsch's M-G-M production of The Merry Widow (1934), for example, also directed by Lubitsch, is illustrated by posters naming a French supporting cast, while the French version of Twentieth-Century Fox's Folies Bergeres (1935), directed by Marcel Achard rather than by Roy Del Ruth, seems to retain only the title and Maurice Chevalier, who can be heard singing "C'etait ecrit.
We listed all the things we don't like about France, starting with Maurice Chevalier singing "sank Evans for Leedle gulls".
Or, as Maurice Chevalier wondered aloud to Hermione Gingold in "GiGi," am I just getting old?
Supposedly, it was Maurice Chevalier who said, "Old age is not so bad when you consider the alternative.
El argentino Mario Clavell aparte de ser compositor de exquisitas canciones fijadas ya en el cancionero clasico de latinoamerica, como Somos, Hasta siempre, Abrazame asi, Quisiera ser y otras muchas, es un chansonnier que ha llevado su arte muy al estilo de Maurice Chevalier, por toda America y Europa.