Marc Allégret: From André Gide Lover to Simone Simon Starmaker

Marc Allégret André Gide lover Simone Simon forceMarc Allégret: André Gide lover, all-around starmaker and the initial driving force behind the film career of Simone Simon.

Marc Allégret: From André Gide lover to Simone Simon mentor

(See previous post: “Simone Simon Remembered: Sex Kitten and Femme Fatale.”) Simone Simon became a film star following the international critical and financial success of the 1934 romantic drama Lac aux Dames, directed by her self-appointed mentor – and alleged lover – Marc Allégret.[1]

The son of an evangelical missionary, Marc Allégret (born on December 22, 1900, in Basel, Switzerland) was to have become a lawyer. At age 16, his life took a different path as a result of his romantic involvement with his mentor – and later “adoptive uncle” – André Gide (1947 Nobel Prize winner in Literature), with whom Allégret “eloped” to London. Then in his mid-40s, Gide had been married to his cousin Madeleine Rondeaux for more than two decades.

In various forms – including a threesome with painter Théo Van Rysselberghe's daughter Elisabeth – the Allégret-Gide relationship remained steady until the late '20s and their trip to the French colonies in West and Central Africa.

That time marked Allégret's first major incursion into filmmaking: the landmark 1927 ethnographic documentary Travels in the Congo. He began directing short subjects in 1930, progressing to writing and directing narrative features the following year.

Lac aux Dames would be his first film since Fanny, the 1932 movie version of Marcel Pagnol's play and the second installment in the successful “Marseillaise trilogy.”[2]

Lac aux Dames Simone Simon'Lac aux Dames' with Simone Simon and Jean-Pierre Aumont.

'Lac aux Dames': Marc Allégret directs 'the most beautiful film of the year'

Lac aux Dames was a unique effort by megarich playboy, wine grower, and racing car driver Philippe de Rothschild, then dabbling as a movie producer.

Based on Vicki Baum's 1927 Tyrolean-set novel Hell in Frauensee / Martin's Summer, previously filmed in Germany in 1928, Lac aux Dames was written by Marc Allégret – who reportedly insisted on expanding the role to be played by Simone Simon – and La Revue du Cinéma editor Jean-Georges Auriol.

The responsibility for the film's dialogue fell to novelist Colette, at the time in her early 60s and with basically no film experience, but known for her knack for creating audience-pleasing youthful characters. Besides, the Chéri and Le blé en herbe author possibly received some input from André Gide, who hung around during the location shoot.

Between 'civilization' and 'the natural world'

Lac aux Dames starred relative newcomer Jean-Pierre Aumont as out-of-work chemical engineer Eric Heller, hired as a swimming instructor (a role initially offered to MGM's Johnny Weissmuller) at a Tyrolean resort. Once there, he immediately becomes the object of desire of just about every female guest.

Eventually, Eric finds himself torn between “civilization” and “the natural world.” The former is embodied by a wealthy heiress (Rosine Deréan); the latter is represented by a tomboyish, nature-loving girl-woman (Simone Simon, third billed) known as Puck – in an apparent nod to A Midsummer Night's Dream.

Despite Marc Allégret's previous credits and Lac aux Dames' good-looking, sensual performers – 23-year-old Jean-Pierre Aumont's impressive physique is displayed to advantage throughout the film, while second lead Illa Meery's breasts are bared in one scene – Philippe de Rothschild had trouble finding a distributor for his production.

Undaunted, he rented the (now defunct) Théâtre du Colisée on Paris' Champs-Élysées to showcase Lac aux Dames, using a gigantic billboard to lure patrons.

Simone Simon: 'Moving, delicious Puck'

French critics were enthusiastic. As reported by the New York Times' Herbert L. Matthews, a “majority” of them referred to Lac aux Dames as “the most beautiful film of the year.”

Matthews agreed, stating that Marc Allégret's effort “deserves a high place in any international compilation of 'best' pictures.” In addition to praise for Jean-Pierre Aumont's performance, he wrote:

“In Mlle. Simon, Mme. Colette … has found the perfect medium to express her profound knowledge of the adolescent mind. It is an exquisitely ingenuous part, played with unerring taste. … Simone Simon is a moving, delicious Puck, so naturally played that the part seems made for her.”

Simone Simon French ActressSimone Simon.

In his autobiography, Sun and Shadow, Jean-Pierre Aumont would reminisce about Lac aux dames, Marc Allégret, and co-star Simon:

“Simone Simon, who had the natural, delicate charm of a wildflower, seemed put into this world just to play the pure and perverse ingenues of Colette. With her freckled face and turned-up nose she offered the camera a kind of intimate sincerity touched with mischief that swept away all of the cinematic conventions of the period. … Marc Allégret had put the most tender and the most secret parts of himself into the film. [Lac aux Dames] was a resounding success.”[4]

Aumont also credited Simone Simon for helping him to get the role of Eric, as she “had a great influence with Marc Allégret” – who would himself become known for launching and/or nurturing the careers of numerous French film stars, from Simon and Aumont to Jeanne Moreau and Brigitte Bardot.[5]

'Happy Days'

The year after Lac aux Dames, Marc Allégret, Simone Simon, and Jean-Pierre Aumont were reunited on Happy Days. Co-written by Charles Spaak and Jacques Viot, this romantic comedy-drama starred Simon as the object of affection of both Raymond Rouleau – who dies – and Aumont – who goes on living and ultimately gets the girl.[6]

Despite several “delightful minutes,” the respected Le Canard enchaîné critic Henri Jeanson was left unimpressed with Happy Days, complaining that “Marc Allégret had the ambition of offering us a film about youth. Instead, he has given us a film about childishness.” Jeanson added that Simon was “wasted” as the young woman torn between love for the living and loyalty to the dead.[7]

But no matter. As Christian Gilles would write in Les Écrans nostalgiques du cinéma français, Jean-Pierre Aumont and Simone Simon – that “tamed, little primal creature with the face of a wildcat” – formed “one of the most beautiful couples of the pre-war screen.”

Jean Pierre-Aumont Simone Simon Black EyesJean-Pierre Aumont and Simone Simon in 'Black Eyes.'

Also in 1935, the “beautiful couple” was seen opposite veteran Harry Baur in Viktor Tourjansky's Black Eyes.[8] One reviewer at the time marveled: “Under chestnut eyelashes, [Simone Simon] has beautiful and direct, bright blue eyes. Yet [in black and white] they photograph dark…”

Irrespective of the color of her irises, Simon's 18-year-old Tanya nearly suffers a Fate Worse Than Death in this imperial Moscow-set drama. The culprits? A villainous (i.e., lewd, lustful, lecherous, etc.) old banker (Jean-Max) and, to some extent, the teenager's own father.

That's Harry Baur's status-conscious hotel headwaiter – who earns some extra cash on the side by arranging “dates” between his wealthy customers and desirable young women. Jean-Pierre Aumont, for his part, represents True Love: a penniless (and so very handsome) piano teacher.[9]

'La sauvage tendre'

Not long before the making of Black Eyes, an article in the fan magazine Ciné discussed the difficulties of trying to reach Simone Simon, who had gone from being “the invisible woman to the woman impossible to find.” Now a celebrity, she was just too busy – at the time starring in Toi c'est moi on the Paris stage – to be bothered with journalists.

Was she going to appear in Marc Allégret's next film, based on the story of Austrian baroness Maria Vetsera, and co-starring her friend Charles Boyer and Pierre-Richard Willm? “That's … what … they say.”[10]

After telling frustrated phone interviewer Georges Fronval that she might be featured in Allégret's other project, based on Mary Webb's novel Gone to Earth, Simon excused herself and hung up.

Because of her button-nosed look, Colette had labeled her “the most beautiful Pekingese in the world.” Because of her sweet and “savage” screen characters – and apparently off-screen self as well – the press dubbed her “La sauvage tendre.”

The label must have appealed to Fox Film Corporation talent scouts.

Aware of the international success of Lac aux Dames, Fox chief of production Winfield Sheehan had Simon shipped to Hollywood – after she had reportedly turned down an MGM offer of $500 per week. Billed as “Europe's Sweetheart,” she was to star in a series of movies for the studio.[11]

And thus was to begin the second and stormy phase of Simone Simon's film career.[12]

“Marc Allégret: From André Gide Protégé to Simone Simon Mentor” to be continued.

Lac aux Dames movie poster'Lac aux Dames' movie poster.

'Marc Allégret: From André Gide to Simone Simon' notes

[1] The relationship between Marc Allégret and André Gide is discussed in Pierre Billard's André Gide & Marc Allégret: Le roman secret.

The Allégret-Gide liaison is also indirectly portrayed in Gide's intricate 1925 novel The Counterfeiters / Les faux-monnayeurs. Its narrator, Edouard, is a fictionalized version of Gide himself, while the adolescent Olivier represents Marc Allégret. The novel's villain, the Comte de Passavant, is supposed to stand for Jean Cocteau, whose attempts at seducing Allégret infuriated Gide.

Benoît Jacquot directed a made-for-TV movie based on Les faux-monnayeurs. Aired in 2010, it starred Melvil Poupaud as Edouard, Maxime Berger as Olivier, and Patrick Mille as de Passavant.

Marc Allégret movies

Before becoming a film director, Marc Allégret was also a photographer, having honed his skills with the assistance of Man Ray. Some of his photographic work is found in Gide's 1929 tome Travels in the Congo.

Allégret's first cinematic experiment was reportedly the 1925 short Anemic Cinema, in which he collaborated with both Man Ray and Marcel Duchamp.

Allégret went on to direct more than 50 motion pictures, including a handful of documentaries. Besides the films mentioned elsewhere in this post, among his most important movie credits are:

  • Zouzou (1934).
    Dir.: Marc Allégret.
    Cast: Josephine Baker. Jean Gabin. Pierre Larquey. Illa Meery. Yvette Lebon.
  • Heart of Paris / Gribouille (1937).
    Dir.: Marc Allégret.
    Cast: Raimu. Michèle Morgan. Gilbert Gil. Jean Worms. Julien Carette.
  • The Curtain Rises / Entrée des artistes (1938).
    Dir.: Marc Allégret.
    Cast: Louis Jouvet. Claude Dauphin. Odette Joyeux. Janine Darcey. Roger Blin. André Brunot. In small roles: Julie Carette. Sylvie. Bernard Blier. Marcel Dalio.
  • Storm / Orage (1938).
    Dir.: Marc Allégret.
    Cast: Charles Boyer. Michèle Morgan. Lisette Lanvin. Jane Loury (as Jeanne Lory).
  • Blanche Fury (1947).
    Dir.: Marc Allégret.
    Cast: Valerie Hobson. Stewart Granger. Michael Gough. Walter Fitzgerald. Susanne Gibbs (as Suzanne Gibbs). Maurice Denham.
  • The Naked Heart / Maria Chapdelaine (1950).
    Dir.: Marc Allégret.
    Cast: Michèle Morgan. Kieron Moore. Françoise Rosay. Jack Watling. Philippe Lemaire. Nancy Price.
  • Venice Film Festival Golden Lion entry With André Gide / Avec André Gide (1952).
    Dir.: Marc Allégret.
    Narrators: Gérard Philipe and Jean Desailly.
    Featuring: Jean-Louis Barrault. Roger Vadim. Paul Valéry.
  • Lady Chatterley's Lover / L'amant de Lady Chatterley (1955).
    Dir.: Marc Allégret.
    Cast: Danielle Darrieux. Leo Genn. Erno Crisa. Janine Crispin. Gérard Séty. Jean Murat.
  • School for Love / Futures vedettes (1958).
    Dir.: Marc Allégret.
    Cast: Jean Marais. Brigitte Bardot. Isabelle Pia. Yves Robert. Denise Noël. Mischa Auer. Lila Kedrova.
  • Marc Allégret's last film: The Ball of Count Orgel / Le bal du comte d'Orgel (1970).
    Dir.: Marc Allégret.
    Cast: Jean-Claude Brialy. Sylvie Fennec. Bruno Garcin. Micheline Presle. Gérard Lartigau. Sacha Pitoëff. Marpessa Dawn. Ginette Leclerc.

From 1938 to 1957, Allégret was married to sometime actress Nadine Vogel (Bizarre, Bizarre / Drole de drame). He died on Nov. 3, 1973. Screenwriter-director Yves Allégret (1905–1987) was his younger brother.

Simone Signoret Dédée d'AnversSimone Signoret in 'Dédée d'Anvers.'

Yves Allégret movies

Little remembered today, Yves Allégret began his career as an assistant to both older brother Marc Allégret (Mam'zelle Nitouche, Lac aux Dames) and Jean Renoir (A Day in the Country / Partie de campagne). Among his best-known efforts are:

  • Dédée d'Anvers (1948).
    Dir.: Yves Allégret.
    Cast: Bernard Blier. Simone Signoret. Marcello Pagliero (as Marcel Pagliero). Marcel Dalio.
  • The Proud and the Beautiful / Les orgueilleux (1953).
    Dir.: Yves Allégret.
    Cast: Gérard Philipe. Michèle Morgan. Carlos López Moctezuma.
  • Oasis (1955).
    Dir.: Yves Allégret.
    Cast: Michèle Morgan. Cornell Borchers. Grégoire Aslan. Carl Raddatz. Pierre Brasseur. Gilles Gallon.

Yves Allégret and Simone Signoret were married from 1944–1949. Their daughter is actress Catherine Allégret (Costa-Gavras' The Sleeping Car Murder / Compartiment tueurs).

In the late '40s, Signoret left her husband for Yves Montand. Curiously, Montand not only shared Allégret's first name (though actually born Ivo Livi) but also his birthday on Oct. 13 (though Montand was 16 years Allégret's junior).

A curiosity: in Garden of Dreams: The Life of Simone Signoret, author Patricia A. DeMaio states that the left-wing Yves Allégret “served as one of Leon Trotsky's secretaries during the Russian leader's exile in Barbizon, France, and [well into the 1940s] his political views continued to lean more towards Trotskyism than Communism.”

Fanny 1932 Marc Allégret'Fanny' would be remade in 1961 in Hollywood, with Leslie Caron in the title role.

Marcel Pagnol's 'Marseillaise' trilogy

[2] The “Marseillaise” trilogy consists of Alexander Korda's Marius (1931), Marc Allégret's Fanny (1932), and Marcel Pagnol's César (1936). The first two were based on Pagnol's plays; the third title was from Pagnol's original screenplay.

Pierre Fresnay (Marius), Orane Demazis (Fanny), Raimu (César), and Fernand Charpin (Panisse) were featured in all three films.

More information about and images from Fanny can be found here.

Vicki Baum and 'Grand Hotel'

[3] Vicki Baum's Hell in Frauensee (“Hell [literally, Light] in the Lake of Women”) was first filmed as Die drei Frauen von Urban Hell (“The Three Women of Urban Hell”) in 1928. Adapted by Baum herself and directed by Jaap Speyer, the film featured Alfred Döderlein as Urban Hell (renamed Eric Heller for Lac aux Dames), Argentinean actress Mona Maris as the heiress, and Hilde Maroff as Puck.

In 1983, Hell in Frauensee would get a made-for-TV version directed by Wolfgang Panzer.

Also of note, about a year and a half before the opening of Marc Allégret's Lac aux Dames, Grand Hotel won the Best Picture Academy Award for the period 1931-32. Directed by Edmund Goulding, the MGM release was based on Vicki Baum's play and 1929 novel Menschen im Hotel (“People in the Hotel”). Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, and Lionel Barrymore starred.

'Lac aux Dames' alumni Colette, Georges Auric

As for Colette, in case online sources are to be believed, her first (and only silent) film foray dates back to 1913, when she is supposed to have written the scenario for the Henri Pouctal-directed short Claudine, based on one of her “Claudine” novels.

In the early '30s, she worked on the French subtitles (or dubbed dialogue) of Leontine Sagan's Mädchen in Uniform (1931), starring Dorothea Wieck, and Lewis Seiler's No Greater Love (1932), with Dickie Moore and Alexander Carr.

Lac aux Dames was Colette's first major film effort. The following year, she would write the scenario and dialogue for Max Ophüls' Divine, featuring Simone Berriau in the title role.

Another well-known Lac aux Dames contributor was composer Georges Auric, who had previously worked on René Clair's À Nous la Liberté (1931) and Jean Cocteau's The Blood of a Poet / Le sang d'un poète (1932).

Auric's future movie credits would include William Wyler's Roman Holiday (1953), which won Audrey Hepburn a Best Actress Oscar; René Clément's Gervaise (1956), starring Maria Schell; and Otto Preminger's Bonjour Tristesse (1958) and Jack Clayton's The Innocents (1961), both starring Deborah Kerr.

And finally, Lac aux Dames script supervisor Françoise Giroud would become France's Secretary of State during the presidency of Valéry Giscard d'Estaing.

Film Actress Simone SimonSimone Simon.

Philippe de Rothschild

[4] Not everyone agrees with Jean-Pierre Aumont's assessment that Lac aux Dames was a personal Marc Allégret hit.

Referring to the film as an “immensely ambitious undertaking,” Mists of Regret: Culture and Sensibility in Classic French Film author Dudley Andrews states that the international success of Lac aux Dames should be attributed more to the “constancy and solicitude” of tyro producer Philippe de Rothschild than to director Allégret.

Even in post-production, Andrews says, “Rothschild's largesse seemed boundless.”

Andrews' book is also the source for Rothschild's Lac aux Dames distribution tactic.

Starmaker Marc Allégret, Louis Jourdan

[5] Besides Simone Simon, Jean-Pierre Aumont, Jeanne Moreau, and Brigitte Bardot, Marc Allégret helped to launch and/or advance the movie careers of, among others:

Michèle Morgan. Gérard Philipe. Odette Joyeux. Pierre Fresnay. Micheline Presle. Raimu. Danièle Delorme. Michel Simon. Jean-Louis Barrault. Fernandel. Mylène Demongeot. Roger Vadim. Jean-Paul Belmondo. Louis Jourdan.

Of these, Louis Jourdan, who died last Feb. 14, '15, was the only one who succeeded – however moderately – in Hollywood. Among his American movies were:

Decades later, Louis Jourdan would be seen in what may well be the most entertaining James Bond flick to date, John Glen's Octopussy (1983), starring Roger Moore.

Screenwriters Charles Spaak and Jacques Viot

[6] One of the most widely admired screenwriters anywhere, Charles Spaak's 100-plus movie credits include:

  • Grand Illusion / La grande illusion (1937).
    Dir.: Jean Renoir.
    Cast: Jean Gabin. Dita Parlo. Pierre Fresnay. Erich von Stroheim.
    Grand Illusion became the first non-English-language film to be nominated for a Best Picture Academy Award.
  • The Idiot / L'idiot (1946).
    Dir.: Georges Lampin.
    Cast: Edwige Feuillère. Gérard Philipe. Sylvie. Jean Debucourt.
  • Panic / Panique (1946).
    Dir.: Julien Duvivier.
    Cast: Viviane Romance. Michel Simon. Max Dalban.
  • Germinal (1963).
    Dir.: Yves Allégret.
    Cast: Jean Sorel. Berthe Granval. Claude Brasseur. Bernard Blier. Philippe Lemaire.

Jacques Viot had fewer than 30 movies to his credit. Among his most prestigious efforts are:

  • Daybreak / Le jour se lève (1939).
    Dir.: Marcel Carné.
    Cast: Jean Gabin. Arletty. Jules Berry. Jacqueline Laurent.
  • Black Orpheus / Orfeu Negro (1959).
    Dir.: Marcel Camus.
    Cast: Breno Mello. Marpessa Dawn. Lourdes de Oliveira. Léa Garcia.
    Black Orpheus was the 1959 Best Foreign Language Film Academy Award winner.
Movie Actress Simone SimonMovie actress Simon Simon ca. 1930s.

'Black Eyes' vs. 'Dark Eyes'

[7] Henri Jeanson quote found in Jeanson par Jeanson: La mémoire du cinéma français, via the French-language Wikipédia. Christian Gille's quote also found on Wikipédia's Happy Days / Les beaux jours page.

[8] Despite the similar title, Black Eyes, from a “story” (or original screenplay) by Robert Thoeren and Viktor Tourjansky, is unrelated to Nikita Mikhalkov's 1987 Italian-Russian (Soviet) co-production Dark Eyes / Oci ciornie.

Starring Best Actor Oscar nominee Marcello Mastroianni, Marthe Keller, and Elena Safonova, Dark Eyes was based on a quartet of Anton Chekhov stories.

As Petersburg Nights / Petersburger Nächte, Paul Martin would direct a German version of Tourjansky's Black Eyes in 1958. In the cast: Johanna von Koczian in the old Simone Simon role, Ewald Balser as her father, Ivan Desny as her would-be lover, and Claus Biederstaedt as her one true love.


A curious IMDb glitch: According to the mammoth film site, the 1935 Black Eyes was distributed in France by Sélection Servaes Films. Also as per the IMDb, that's the name of the company that will be distributing Drake Doremus' sci-fier Equals, starring Kristen Stewart, Nicholas Hoult, Guy Pearce, and Jacki Weaver.

In truth, as reported in Variety, French rights to Equals was picked up by Selective Films – which is also listed on the sci-fier's IMDb page. (Thanks to a contractual arrangement, Paramount will be handling Equals' actual distribution in France.)

Apart from the Equals glitch, if the IMDb's information is accurate Sélection Servaes Films distributed only one other movie. That's Pierre Ramelot and Ladislao Vajda's little-known Haut comme trois pommes (1936; literally, “High [or 'Tall'] Like Three Apples”), featuring Raymond Cordy and Madeleine Guitty.

Jean-Pierre AumontJean-Pierre Aumont.

Jean-Pierre Aumont

[9] Following the outbreak of World War II, Jean-Pierre Aumont temporarily moved to the United States. In 1943, he starred in two Metro-Goldwyn-Mayer releases:

  • Tay Garnett's The Cross of Lorraine, with Gene Kelly.
  • Jack Conway's Assignment in Brittany, with Susan Peters and Signe Hasso.

Aumont then joined the Free French Army, seeing action in North Africa. He would return to Hollywood after the armistice, most notably starring opposite Ginger Rogers in Sam Wood's Heartbeat (1946), and opposite Yvonne De Carlo and Brian Donlevy in Walter Reisch's Song of Scheherazade (1947).

As Aumont remembers in Sun and Shadow, shortly after his initial arrival in New York City in the early '40s, he ran into Simone Simon “standing in front of Cartier's window, looking at her own reflection.”

Simon then invited her Lac aux Dames, Happy Days, and Black Eyes co-star to check out Tyrone Power and Annabella on their opening night in Liliom at a Westport, Conn., theater.

There, journalists asked whether Aumont was Simon's “new lover.”

“Such audacity astounded me,” he would recall, “but Simone seemed used to it. She answered with the most charming smile: 'We're old friends.'”

Jean-Pierre Aumont died at age 90 in 2001.


[10] Jean Giraudoux (Ondine, The Madwoman of Chaillot) was to have written Marc Allégret's version of Maria Vetsera's story.

However, future Best Director Oscar nominee Anatole Litvak (The Snake Pit) would be the one to direct the international hit Mayerling (1936), about the doomed love affair between Maria Vetsera and Archduke Rudolph of Austria. Charles Boyer and Danielle Darrieux starred.

Based on the 1930 novel Mayerling / Idyll's End by Claude Anet (pseudonym for tennis player Jean Schopfer), Litvak's Mayerling was adapted by Marcel Achard, Joseph Kessel, and Irma von Cube.

Marc Allégret would eventually team up with Charles Boyer on Storm (1938), Le corsaire (1939), and Midnight Folly / Les démons de minuit (1961). And with Pierre-Richard Willm on Woman of Malacca / La dame de Malacca (1937).

Regarding another Simone Simon-Marc Allégret film project: Michael Powell and Emeric Pressburger would film Gone to Earth / The Wild Heart in 1950, with Jennifer Jones and David Farrar as the leads.

Darryl F. Zanuck at Fox?

[11] Generally, online and modern print sources assert that 20th Century Fox vice president Darryl F. Zanuck was responsible for bringing Simone Simon to Hollywood.

Yet Simon was to have been a Fox Film Corporation contract player – at a time when Zanuck was attached to the independent Twentieth Century Pictures.

As a consequence of the Fox and Twentieth Century merger in 1935, after her arrival in the U.S. Simon found herself employed by the newly formed 20th Century Fox, with Zanuck as her boss.

'Travels in the Congo' directed by Marc Allégret.

Simone Simon, Marc Allégret movies

[12] Original and/or alternate titles, director, and key cast members of movies mentioned in part 2 of this multipart Simone Simon article:

  • Travels in the Congo / Voyage au Congo (1927).
    Dir.: Marc Allégret.
  • Fanny (1932).
    Dir.: Marc Allégret.
    Cast: Raimu. Pierre Fresnay. Orane Demazis. Fernand Charpin.
  • Lac aux Dames / Ladies Lake (1934).
    Dir.: Marc Allégret.
    Cast: Jean-Pierre Aumont. Rosine Deréan. Simone Simon. Illa Meery (as Ila Meery). Vladimir Sokoloff (as Sokoloff). Michel Simon. Odette Joyeux.
  • Happy Days / Les beaux jours (1935).
    Dir.: Marc Allégret.
    Cast: Simone Simon. Jean-Pierre Aumont. Raymond Rouleau. Jean-Louis Barrault. Maurice Baquet. Fernand Charpin. Madeleine Robinson in a bit part.
  • Black Eyes / Les yeux noirs / Dark Eyes (1935).
    Dir.: Viktor Tourjansky.
    Cast: Harry Baur. Simone Simon. Jean-Pierre Aumont. Jean-Max. André Dubosc. Viviane Romance.

As mentioned in the preceding Simone Simon article, Marc Allégret also directed Simon in two movies of the early 1930s: Mam'zelle Nitouche (1931) and The Chocolate Girl / La petite chocolatière (1932). Allégret would direct her one more time in Pétrus (1946).


Simone Simon and Jean-Pierre Aumont in Marc Allégret's Lac aux Dames image and poster: Films Sonores Tobis.

Marc Allégret image: publicity shot ca. 1940.

Simone Signoret Dédée d'Anvers image: Films Sacha Gordine.

Marc Allégret: From André Gide Lover to Simone Simon Starmaker © 2004–2018 Alt Film Guide and/or author(s).
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