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Raimu
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Jules Auguste Muraire (18 December 1883 – 20 September 1946), whose stage name was Raimu, was a French actor.[citation needed] He is most famous for playing César in the 'Marseilles trilogy' (Marius, Fanny and César).[1]
Key Information
Life and career
[edit]Born in Toulon in the Var department, Muraire made his stage debut there in 1899. After coming to the attention of the great music hall star Félix Mayol who was also from Toulon, in 1908 he was given a chance to work as a secondary act in the Paris theatre scene. He worked primarily in comedy. In 1916, writer/director Sacha Guitry gave him significant parts in productions at the Folies Bergère and other major venues.[citation needed] In addition to his appearances on stage, Raimu also developed a successful career in films, sometimes under the name Jules Raimu.[1]
He starred in the premiere of André Messager's operetta Coups de roulis in 1928. The following year, already a leading actor, he gained wide acclaim for his starring role in the stage production of the Marcel Pagnol play Marius. Reluctantly, owing to his disappointment with his first film role many years earlier, he agreed to act in Guitry's film Le Blanc et le Noir and then reprised his Marius role on film a year later. By his late forties Raimu had become one of his country's most respected actors, and was considered the ultimate actor by Alec Guinness, Marlene Dietrich, Rod Steiger and Orson Welles.
Family
[edit]He married Esther Metayer (1905-1977) in 1936. He had a daughter, Paulette Brun (1925-1992).
Death
[edit]Raimu died of a heart attack on 20 September 1946,[1] brought on by complications with anesthesia after a relatively minor leg operation, in the American Hospital of Paris in Neuilly-sur-Seine, while he was asleep.
Legacy
[edit]He was interred in the cemetery of Toulon, where the Cinéma Raimu Toulon has been named in his honor.
In 1961, the government of France honored him with his image on a postage stamp. A small museum created by his granddaughter Isabelle Nohain exists in the town of Cogolin in the Var department in France.
Partial filmography
[edit]- Black and White (1931) - Marcel Desnoyers
- Marius (1931) - César Olivier
- Mam'zelle Nitouche (1931) - Célestin / Floridor
- The Chocolate Girl (1932) - Félicien Bédarride
- Fun in the Barracks (1932) - Le capitaine Hurluret
- Fanny (1932) - César
- Theodore and Company (1933) - Clodomir
- Charlemagne (1933) - Charlemagne
- Ces messieurs de la Santé (1934) - Gédéon Tafard
- Minuit... place Pigalle (1934) - Monsieur Prosper
- Tartarin of Tarascon (1934) - Tartarin
- I Have an Idea (1934) - Aubrey
- School for Coquettes (1935) - Labaume
- Gaspard de Besse (1935) - Samplan
- The Secret of Polichinelle (1936) - M. Jouvenel
- The Brighton Twins (1936) - Alfred Beaugérard et les deux fils Achille
- The King (1936) - M. Bourdier - un riche industriel et sénateur qui reçoit le Roi
- César (1936) - César Ollivier
- Let's Make a Dream (1936) - Le mari
- Vous n'avez rien à déclarer? (1937) - Jules Papillot
- The Pearls of the Crown (1937) - L'industriel du midi
- Chaste Susanne (1937) - Monsieur des Aubrays
- Life Dances On (1937) - Francois Patusset
- Gribouille (1937) - Camille Morestan
- The Kings of Sport (1937) - Jules de l'Estaque
- Le fauteuil 47 (1937) - Juste Auguste Theillard
- The Strange Monsieur Victor (1938) - Victor Agardanne
- The New Rich (1938) - Legendre
- The Baker's Wife (1938) - Aimable Castanier
- Heroes of the Marne (1938) - Bernard Lefrançois
- Cocoanut (1939) - Loulou Barbentane
- Monsieur Brotonneau (1939) - M. Brotonneau
- Ultima giovinezza (1939) - Cesare
- Second Childhood (1939) - Georges
- The Man Who Seeks the Truth (1940) - Jean Vernet
- La Fille du puisatier (1940) - Pascal Amoretti
- Le duel (1941) - le Père Bolène
- Parade en sept nuits (1941) - Le curé Maffre - curé des Baux
- Les Inconnus dans la maison (1942) - Maître Hector Loursat
- L'Arlésienne (1942) - Marc
- Monsieur La Souris (1942) - Monsieur La Souris
- The Benefactor (1942) - Monsieur Moulinet
- Les petits riens (1942) - Charpillon
- Untel père et fils (1943) - L'oncle Jules Froment
- Le Colonel Chabert (1943) - Le colonel Hyacinthe Chabert
- Les gueux au paradis (1946) - Boule
- The Eternal Husband (1946) - Nicolas Trousotsky (final film role)
- Chantons sous l'Occupation (1976) - (archive footage)
References
[edit]- ^ a b c "JULES RAIMU, STAR OF FRENCH THEATRE; Comic Actor of Stage, Films is Dead--Won Praise Here for Role in 'Baker's Wife'". The New York Times. 21 September 1946. p. 12. Retrieved 20 February 2024.
External links
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Raimu
View on Grokipediafrom Grokipedia
Early life
Birth and childhood
Jules Auguste Muraire, later known by his stage name Raimu, was born on 18 December 1883 in Toulon, a bustling harbor town in the Provence region of France, into a modest working-class family.[9][10][11] His father, Joseph Muraire, worked as an upholsterer, a trade that barely sustained the household amid the economic challenges faced by many in late 19th-century Provence.[11][9] Muraire's mother, Élisabeth Gouzian, provided a nurturing presence in this humble environment, though the family's limited means shaped a childhood marked by simplicity and resilience.[11] From an early age, Muraire displayed a rebellious and independent streak, often clashing with authority and struggling academically, which led to frequent troubles at school and a disinterest in traditional learning paths.[9][12] Immersed in the vibrant Provençal culture of Toulon, he formed a strong bond with the local dialect and traditions, absorbing the rhythmic cadences and communal spirit that defined the region's identity.[9][12] This formative period also introduced him to Toulon's lively entertainment milieu, from street performances to café gatherings, igniting a fascination with the performing arts that contrasted sharply with his father's expectations for him to join the family trade.[9][12]Entry into entertainment
At the age of 16, following the death of his father the previous year, Jules Auguste Muraire began his professional entertainment career in 1899–1900 as a singer performing in cafés and music halls around Toulon, initially under the pseudonym Rallum.[9] These early appearances involved imitating popular French comic performers in vaudeville-style acts, marking his transition from a rebellious youth to a budding entertainer in local venues.[13] In the early 1900s, Muraire adopted the stage name Raimu, an approximate verlan—a French slang technique involving syllable reversal—of his surname Muraire, evolving from "Raimut" to the simplified "Raimu."[14] This name change helped establish his regional identity as a performer, allowing him to gain recognition beyond casual café gigs while retaining ties to his Provençal roots. By this period, he had shifted toward more structured stage work, though still primarily in Toulon's entertainment circuit. Around 1908, singer and music hall star Félix Mayol, a fellow Toulon native, discovered Muraire and provided opportunities as a secondary act in Parisian revues and theaters, facilitating his first formal stage appearances in the capital that year.[9] This mentorship propelled Muraire's career forward, culminating in his full relocation to Paris by 1914, where he began securing more prominent roles under the name Raimu.[15]Career
Theater career
Raimu's theater career gained significant momentum in 1916 when he secured his breakthrough role in Sacha Guitry's comedy Faisons un rêve at the Théâtre des Bouffes-Parisiens, marking his transition from music hall revues to more substantial dramatic parts.[9] This performance showcased his emerging talent for witty dialogue and character depth, earning him notice among Paris's theatrical elite. Building on this success, Raimu appeared in several notable productions throughout the 1920s, including L'École des cocottes by Paul Armont and Marcel Gerbidon in 1920 at the Théâtre des Variétés, where he played Labaume, a role that highlighted his comedic timing.[16] He followed with Sacha Guitry's Le Blanc et le noir in 1922 at the same venue, portraying a husband entangled in marital intrigue, and Yves Mirande's Édith de Nantes in 1923 at the Théâtre Daunou, further solidifying his reputation in boulevard theater.[9] A pivotal moment came in 1928 with the premiere of André Messager's operetta Coups de roulis at the Théâtre Marigny, where Raimu starred as Puy-Pradal, the ship's commissary, demonstrating his versatility in musical comedy and his ability to infuse roles with robust humor.[17] The following year, 1929, brought his most iconic stage role: César in Marcel Pagnol's Marius at the Théâtre de Paris, a Provençal bar owner whose gruff yet affectionate demeanor captured the essence of Marseille life and launched a enduring collaboration with Pagnol.[18] This performance not only drew widespread acclaim but also cemented Raimu's association with authentic Provençal characters, blending dialect-infused speech with heartfelt emotion.[10] After a period dominated by film work, Raimu returned to the stage in 1944 amid wartime constraints, joining the Comédie-Française to perform Molière's Le Bourgeois gentilhomme, where his interpretation of the titular social climber emphasized physical exaggeration and satirical bite.[19] His final stage appearance came in 1946 with Tristan Bernard's L’Anglais tel qu’on le parle at the Théâtre des Célestins in Lyon, a light comedy that allowed him to reprise his flair for linguistic play and ensemble dynamics shortly before his death.[20] Throughout his theatrical oeuvre, Raimu excelled in mastering the Provençal dialect to evoke regional authenticity, employing physical comedy through expressive gestures and booming delivery, while thriving in ensemble settings across revues, operettas, and dramas.[10]Film career
Raimu initially resisted transitioning to cinema, viewing it as inferior to theater despite minor appearances in silent films during the 1910s and 1920s.[9] He made his notable screen debut in 1931 with Le Blanc et le noir, directed by Marc Allégret, where he played the lead role of Marcel Desnoyers in this early sound comedy exploring marital infidelity.[21] This marked the beginning of his film career at age 47, as he had prioritized stage work until the advent of talkies offered opportunities aligned with his vocal strengths.[9] His breakthrough came shortly after with the Marseille Trilogy, adapted from Marcel Pagnol's plays, where Raimu portrayed the iconic character César, a gruff Provençal bar owner and father figure. In Marius (1931), directed by Alexander Korda, he embodied César as the resilient patriarch navigating his son Marius's romantic turmoil.[22] The following year, in Fanny (1932), directed by Marc Allégret, Raimu reprised the role amid themes of love, honor, and family secrets in the Marseille waterfront setting.[23] The trilogy concluded with César (1936), which Pagnol directed himself, allowing Raimu to deepen César's emotional complexity in a story of reconciliation and legacy.[24] These films, blending humor and pathos, established Raimu as a 1930s cinema star and popularized Pagnol's vivid depictions of Provençal life.[9] Raimu continued his fruitful collaboration with Pagnol in subsequent films, showcasing his versatility in roles that highlighted everyday heroism. In La Femme du boulanger (1938), directed by Pagnol, he starred as Aimable Castanier, a devoted baker whose life unravels due to his young wife's infidelity, delivering a performance that masterfully shifted from comedy to quiet tragedy.[25] He followed this with La Fille du puisatier (1940), also directed by Pagnol, playing Pascal Amoretti, a principled well-digger confronting social scandal when his daughter becomes pregnant. These portrayals solidified his status as Pagnol's ideal leading man, emphasizing moral depth amid rural French settings.[26] During the Nazi occupation of France, Raimu appeared in fewer films but took on a significant dramatic role in Les Inconnus dans la maison (1942), directed by Henri Decoin and adapted from Georges Simenon's novel, as the reclusive lawyer Hector Loursat who defends his daughter amid a murder mystery.[27] This Continental Films production was one of his few works under occupation constraints, highlighting his ability to convey brooding intensity.[28] After the war, he completed his final two films in 1946: Les Gueux au paradis, directed by René Le Hénaff, a lighthearted Provençal comedy co-starring Fernandel, and L’Homme au chapeau rond, directed by Pierre Billon, a somber adaptation of Dostoevsky's The Eternal Husband where he played the tormented Nicolas.[29][30] Both were released posthumously following his death earlier that year.[9] Throughout his filmography, Raimu's on-screen persona as a jowly, cigar-chomping everyman with a thick Provençal accent became synonymous with authentic working-class resilience, seamlessly merging broad humor with poignant pathos to capture the human spirit.[31] This distinctive style, rooted in his theatrical roots—such as originating César on stage in Pagnol's Marius—made him an enduring figure in French cinema.[26]Personal life
Family and marriages
Raimu married the actress Esther Métayer on March 28, 1936, in Paris's 8th arrondissement. Born in 1905, Métayer was 22 years younger than Raimu and appeared in several films during the interwar period, including minor roles alongside her future husband.[32] She remained his steadfast companion through the height of his theatrical and cinematic success in the late 1930s and early 1940s, providing a private anchor amid his public acclaim.[33] Métayer outlived Raimu and passed away in 1977.[13] The couple's only child, daughter Paulette Brun, was born in 1925, prior to their marriage but as their shared daughter. Brun, Raimu's sole offspring, grew up in the shadow of her father's rising fame and later contributed to preserving his legacy by authoring the intimate biography Raimu, mon père in 1980, which offers personal reflections on their family dynamics.[5] She passed away in 1992.[33] No prior marriages for Raimu are documented in biographical records, underscoring the enduring nature of his union with Métayer.[13] Following the 1936 wedding, the family established a stable household that contrasted with the demands of Raimu's professional life, allowing him to maintain a relatively private domestic sphere.[33]World War II experiences
During the German occupation of France (1940–1944), Raimu sustained his film career amid the Vichy regime's cultural controls and German oversight of the industry, producing works that provided escapism through familiar Provençal themes while navigating production constraints. His 1940 collaboration with Marcel Pagnol on La fille du puisatier, filmed in Provence shortly after the armistice, portrayed a father's struggle with honor and family betrayal, aligning implicitly with Vichy's emphasis on traditional rural values without overt propaganda. This pre-full-occupation release allowed Raimu to maintain continuity from his pre-war successes in Pagnol's Marseilles trilogy. In 1942, Raimu starred as the cynical lawyer Loursat in Les Inconnus dans la maison, directed by Henri Decoin and produced by the Nazi-controlled Continental Films company, adapting Georges Simenon's novel into a noir thriller set in a provincial town rife with suspicion and moral decay. The film's critique of Third Republic elites and focus on restoring order resonated with Vichy conservatism, prompting postwar accusations of collaboration against its makers, though Raimu's involvement was often framed as an artistic necessity to preserve French cinema amid shortages and censorship rather than ideological endorsement. Theater work remained limited due to rationing, venue closures, and travel restrictions, with Raimu prioritizing film in occupied Paris to sustain his livelihood. Reflecting his apolitical disposition, Raimu adopted a low-profile existence in Paris, avoiding overt entanglement in Vichy or German circles beyond professional obligations. Following liberation in 1944, his occupation-era films underwent scrutiny by épuration committees, with Les Inconnus dans la maison banned in 1945 for its Continental ties and perceived anti-Semitic undertones, yet Raimu faced no formal charges or blacklisting, as his roles were deemed non-propagandistic and centered on escapist narratives.Later years and death
Health decline and final works
In March 1946, Raimu was seriously injured in a car accident near Tournus, France, suffering fractures to both legs that greatly impaired his mobility and initiated a period of physical deterioration at the age of 62.[34][35] Despite the setbacks from his injuries and the challenges of recovery, Raimu pressed on with his professional commitments, completing two final films that year. In Les Gueux au paradis, directed by René Le Hénaff, he portrayed a Provençal villager alongside Fernandel, bringing his signature warmth and humor to the role amid ongoing health constraints.[36] Similarly, in L’Homme au chapeau rond, under Pierre Billon's direction, he delivered a compelling performance as a mysterious figure, marking his last screen appearance and showcasing his resilience in the face of physical limitations.[37] Earlier that year, Raimu returned to the theater, taking the stage at the Comédie-Française in Tristan Bernard's vaudeville L’Anglais tel qu’on le parle, where he embodied a comedic character with evident determination despite mounting fatigue from his age and the demands of his long career.[38][20] The accident worsened his overall condition, exacerbating early signs of heart problems during recovery and underscoring the toll of his 62 years in entertainment.[39]Circumstances of death
On 20 September 1946, Raimu, aged 62, underwent routine surgery at the American Hospital in Neuilly-sur-Seine to address lingering complications from a car accident he suffered in March 1946 while filming L’Homme au chapeau rond.[13][9] The accident, which occurred near Tournus on the Nationale 7 route en route to Monte-Carlo, resulted in multiple fractures, including to his tibia, and contributed to his overall declining health in the preceding months.[40][41] The procedure was intended to be minor and non-life-threatening, focused on treating the tibia injury. However, approximately 50 minutes into the operation, Raimu experienced a sudden cardiac syncope, leading to heart failure despite emergency interventions including a blood transfusion and injections.[42][9] His wife, Esther Métayer, waited anxiously in a nearby corridor alongside his impresario and masseur during the surgery.[42] Raimu's death prompted widespread national mourning in France, with tributes pouring in from the cinema community and the public, reflecting his status as a beloved cultural icon.[42] His daughter, Paulette Brun, joined his wife in the immediate aftermath. He was buried in the Cimetière Central of Toulon, his birthplace, where thousands paid their respects.[4][40]Legacy
Honors and tributes
In 1983, Raimu received the Honorary César Award posthumously for his lifetime achievement in French cinema, recognizing his iconic performances in films such as those in the Marseille Trilogy.[43] The French postal service issued a 50-centime stamp in 1961 featuring Raimu in his role as César from Marcel Pagnol's works, honoring his contributions to theater and film as part of a series on notable French actors.[44] A museum dedicated to Raimu was first established in Méounes, France, in 1981 by his daughter Paulette; it later moved to Cogolin and then to Marignane in 2014, where his granddaughter Isabelle Nohain-Raimu—who passed away on October 20, 2025—curated exhibits of his personal artifacts, scripts, and memorabilia to preserve his legacy.[45][46] Raimu earned high praise from contemporaries, including lifelong advocacy from playwright and filmmaker Marcel Pagnol, who cast him in leading roles across multiple adaptations and described their collaboration as central to his creative output.[3] Orson Welles, after viewing The Baker's Wife, reportedly called Raimu "the greatest actor in the world" and sought to meet him through Pagnol.[47]Cultural impact
Raimu holds an enduring status as a cultural icon in Marseille and broader Provence, embodying the region's vibrant, working-class spirit through his portrayals of Provençal characters. In his birthplace of Toulon, Place Raimu features a prominent 1991 bronze statue by sculptor Eric de Saint-Chaffrey, depicting Raimu as César from Marcel Pagnol's Marius in a famous card-playing scene with Panisse, symbolizing the communal humor and camaraderie of Provençal life.[48] Additional tributes include a statue near the Toulon Opera and another statue at Place Victor Hugo, reinforcing his role as a "sacred monster" of 1930s French cinema and a pioneer in talking pictures.[49][50] In Marseille, Avenue Raimu in the 14th arrondissement honors his legacy, while the Musée Raimu in nearby Marignane, established by his granddaughter Isabelle Nohain-Raimu, preserves artifacts from his career, highlighting his deep ties to Provençal heritage.[51][52] As a central figure in Marcel Pagnol's films, Raimu became a symbol of 1930s French poetic realism, a movement blending working-class realism with lyrical humanism that captured the sunny, emotional essence of Mediterranean life. His portrayal of César in The Marseille Trilogy (Marius, Fanny, and César) exemplified this style's focus on familial bonds, humor, and pathos, contrasting the darker fatalism of contemporaries like Jean Renoir or Marcel Carné while influencing perceptions of French character acting as robust and relatable.[3][53] Internationally, these roles shaped views of the archetypal Provençal everyman, with Raimu's booming voice and expressive physicality inspiring admiration from figures like Alec Guinness and Marlene Dietrich, who regarded him as the pinnacle of acting craft.[54][9] Raimu's influence extends to later generations of actors and filmmakers, serving as a muse for Pagnol and a model for character-driven performances in French cinema. His collaborations, such as in The Baker's Wife (1938), inspired subsequent portrayals of gruff yet tender paternal figures, evident in the enduring appeal of Provençal archetypes in post-war films. In the 21st century, restorations of Pagnol's works featuring Raimu have revitalized his legacy, including Janus Films' 2017 4K edition of The Marseille Trilogy and a new 4K restoration of Merlusse (1938, with Raimu) presented at the 2025 Cannes Film Festival.[3][55][56] mk2 Films' 2024 retrospective of 10 restored Pagnol titles, marking the 50th anniversary of his death, alongside a 2025 animated biopic The Magnificent Life of Marcel Pagnol, underscores ongoing digital archiving efforts that ensure Raimu's contributions remain accessible and influential in global cinema discourse.[57][58]Selected works
Notable theater roles
Raimu's stage career featured several landmark performances that showcased his comic timing and dramatic depth in both contemporary and classical works. In 1916, he portrayed the deceived husband in Sacha Guitry's comedy Faisons un rêve, staged at the Théâtre des Bouffes-Parisiens, marking one of his early significant roles in boulevard theater.[59] Raimu achieved prominence in 1928 with the lead role of Puy-Pradal in André Messager's operetta Coups de roulis, premiered at the Théâtre Marigny, where his performance contributed to the production's success amid a star-studded cast.[17] His 1929 portrayal of César in Marcel Pagnol's Marius at the Théâtre de Paris was a breakthrough, earning widespread acclaim for embodying the gruff yet affectionate Provençal bar owner and solidifying his reputation as a leading dramatic actor.[60] In 1944, during his tenure at the Comédie-Française, Raimu played the titular Monsieur Jourdain in Molière's Le Bourgeois gentilhomme, delivering a memorable interpretation of the aspiring nobleman's pretensions and follies.[61] Raimu's final notable stage appearance came in 1946 as a key performer in Tristan Bernard's vaudeville L’Anglais tel qu’on le parle at the Comédie-Française, where critics praised his excellent handling of the role shortly before his death.Partial filmography
Raimu's partial filmography highlights his transition from stage to screen, featuring pivotal roles in French cinema from the early 1930s onward. This selection emphasizes his collaborations with Marcel Pagnol and extends to lesser-known works produced during World War II and in his final years, providing a broader view of his cinematic output beyond the Marseille trilogy.[62][31] The following table lists selected films chronologically, including year, title, director, and Raimu's role:| Year | Title | Director | Role |
|---|---|---|---|
| 1931 | Le Blanc et le noir | Marc Allégret | Marcel Desnoyers |
| 1931 | Marius | Alexander Korda | César |
| 1932 | Fanny | Marc Allégret | César |
| 1936 | César | Marcel Pagnol | César Ollivier |
| 1938 | La Femme du boulanger | Marcel Pagnol | Aimable Castanier |
| 1940 | La Fille du puisatier | Marcel Pagnol | Pascal Amoretti |
| 1942 | Les Inconnus dans la maison | Henri Decoin | Hector Loursat |
| 1944 | L’Homme au chapeau rond | Pierre Billon | Nicolas Pavlovitch[63] |
| 1946 | Les Gueux au paradis | René Le Hénaff | Boule[29] |