Jean Gabin

After completing his military service in the Fusiliers marins, he returned to the entertainment business, working under the stage name of Jean Gabin at whatever was offered in the Parisian music halls and operettas, imitating the singing style of Maurice Chevalier, which was the rage at the time. He was part of a troupe that toured South America, and upon returning to France found work at the Moulin Rouge. His performances started getting noticed, and better stage roles came along that led to parts in two silent films in 1928.

Two years later Gabin made the transition to sound films in a 1930 Pathé Frères production, Chacun sa chance. Playing secondary roles, he made more than a dozen films over the next four years, including films directed by Maurice and Jacques Tourneur. But he only gained real recognition for his performance in Maria Chapdelaine, a 1934 production directed by Julien Duvivier. He was then cast as a romantic hero in the 1936 war drama La Bandera; this second Duvivier-directed film established him as a major star. The next year he teamed up with Duvivier again in the highly successful Pépé le Moko. Its popularity brought Gabin international recognition. That same year he starred in Jean Renoir's La Grande Illusion, an antiwar film that ran at a New York City theatre for an unprecedented six months. This was followed by another of Renoir's major works, La Bête Humaine (The Human Beast), a film noir tragedy based on the novel by Émile Zola and starring Gabin and Simone Simon, as well as Le Quai Des Brumes (Port of Shadows), one of director Marcel Carné's classics of poetic realism. His rugged charisma could be compared with Humphrey Bogart and James Cagney.

He divorced his second wife in 1939. ...

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