Chanteuse in the City: The Realist Singer in French Film

Dive into the captivating world of early 20th-century Parisian performance with Kelley Conway's "Chanteuse in the City: The Realist Singer in French Film." This groundbreaking First Edition paperback, published by the University of California Press in 2004, offers a fresh and insightful perspective on the often-overlooked contributions of female performers to French cinema and popular culture. Forget the image of France solely defined by masculine narratives; Conway unveils a rich tapestry of female voices that resonated with audiences long before Edith Piaf's iconic rise. Conway's work isn't just a historical account; it's a compelling argument for re-evaluating the golden era of French film. At 273 pages, "Chanteuse in the City" provides a meticulously researched and richly detailed exploration of the *chanteuse raliste*, the "realist singer," and her vital role in shaping the cultural landscape. Think of her as the anti-heroine a voice for the working class, a symbol of female desire and disillusionment, and a chronicler of Parisian hardship. Conway breathes life into the stories of Mistinguett, Josephine Baker, Frhel, and Damia not merely as entertainers, but as potent figures who challenged societal norms and reflected the complexities of their time. The book intricately traces the evolution of these performances, from the intimate settings of caf-concerts to the grand spectacle of music halls. Conway expertly connects these live performances to the emerging world of film, demonstrating how the realist chanteuse found a new platform to express female experiences, often dealing with themes of betrayal and the harsh realities of life. It's not just about the music; its about the social commentary embedded within these performances, offering a glimpse into the lives of women often marginalized in mainstream narratives. "Chanteuse in the City" meticulously examines key films like *Pp le Moko*, *Le Crime de Monsieur Lange*, and *Zouzou*, revealing how these films, often perceived through a masculine lens, actually showcase the power of the realist chanteuse to articulate female despair and longing. Conway masterfully demonstrates how the performances of these women their songs, their stage presence, their very being challenged traditional gender roles and offered a counter-narrative to the prevailing patriarchal discourse. Beyond its feminist perspective, the book is a valuable resource for anyone interested in film theory and criticism, music history, French history, performing arts, and women's studies. Conway provides a compelling analysis of the transition from live performance to the cinematic realm, highlighting the impact of "talkies" on the entertainment industry and the evolving role of women within it. "Chanteuse in the City" is a necessary read for anyone seeking a deeper understanding of French film history and the powerful female voices that shaped its cultural identity. It is a seminal work that continues to influence scholarly discourse and offers a fresh perspective on the cultural significance of these often-overlooked artists.