BIO:
Actor,
singer. (b. Sept. 12, 1888, Paris; d. Jan. 1, 1972.) The
epitome of French charm and sophistication, this legendary
performerinstantly recognizable by his dancing eyes, slick
hair, and thick lower lip-had the good fortune to be in
America at the dawn of the talkie age, and helped revolutionize
movie musicals by freeing them from the constraints of
corny backstage plots and settings. Chevalier, an acrobat
who turned to singing after being sidelined in a severe
accident, made several short films in France (beginning
with 1908's Trop credule). He served in the French army
during World War 1, was wounded, captured, and imprisoned
by the Germans. (He learned English from a fellow prisoner.)
After the war, he returned to entertaining and became
the toast of Parisian music halls. Chevalier came to America
in 1928, and after making a short subject Bonjour New
York! on the East Coast he went to Hollywood. He worked
for Paramount, which designed airy, sophisticated (and
often naughty) vehicles that would emphasize his continental
charm. The Love Parade (1929) teamed him with debuting
Jeanette MacDonald in a suave musical directed by Ernst
Lubitsch; Chevalier was Oscar-nominated for his performance.
(He also starred in the foreign-language version of this
and several subsequent films as well.) He sang a couple
of songs in the all-star revue Paramount on Parade (1930),
and went to the company's Astoria, Long Island, studio
that same year to make The Big Pond which earned him another
Oscar nomination.
Chevalier's insouciant manner and blithe delivery of
juicy dialogue (often of the double entendre variety)
endeared him to sophisticated audiences, although theaters
in rural areas eventually rebelled against the Lubitsch-Chevalier
type of picture, complaining that they were too continental
for their audiences. The Smiling Lieutenant (1931) and
One Hour With You (1932) were both delightful, but Chevalier's
collaboration with director Rouben Mamoulian, 1932's
Love Me Tonight was even more effective. Supported by
Jeanette MacDonald and Myrna Loy, blessed with some
of the best songs written by Rodgers and Hart, Chevalier
delivered one of his finest performances
as a tailor mistaken for royalty. It was the high point
of his screen career and, in fact, marked a turning
point for the singer. His later vehicles, including
A Bedtime Story, The Way to Love (both 1933), The Merry
Widow (1934), and Folies Bergère (1935) all had
their points, but didn't reach, much less surpass, the
plateau reached by Love Me Tonight. Then, too, the Production
Code had defanged the kind of tart scripts he'd been
given, and American musicals had become more sophisticated.
Returning to Europe, Chevalier starred or costarred
in several English and French films during the late
1930s, including The Beloved Vagabond (1936), Man of
the Hour (1937), and Break the News (1938, with another
veteran song-and-dance man, Jack Buchanan). World War
2 interrupted Chevalier's film career, and he was accused-but
later vindicated-of being a Nazi collaborator. He went
to Hollywood in the mid 1950s just in time for the waning
years of the American movie musical's golden age. Now
gray-haired and jowly, but still a twinkly-eyed rake,
he appeared in Love in the Afternoon (1957, wittily
cast by Billy Wilder as a dour private eye), Gigi (1958,
which gave him several new signature songs, "I
Remember It Well" and "Thank Heaven for Little
Girls"), Count Your Blessings (1959), Can-Can (1960),
Fanny (1961), In Search of the Castaways (1962), I'd
Rather Be Rich (1964), Monkeys, Go Home! (1967), and
The Aristocats (1970, singing the title song). He won
a special Oscar in 1958.
From - - Leonard Maltin's
Movie Encyclopedia:
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