The Comedies of Postwar France

Abstract

Comedies, on a universal level, are often the end result of a series of visual gags, but not always necessarily. Comedies can also sometimes correspond to narratives that address real political and social issues. Laughter and cinema as a popular comic art can address national tragedies, refecting social, economic, or political realities and directed by their strength of conviction, denounce the manipulation to an entire nation. These comedies, often misclassified by their occasional ambiguous appearance, can be best described as satirical comedies whose intent is to both exploit the comic vein and influence the evolution of mentalities with a social and political impact. Therefore satires and parodies can demonstrate a socioeconomic reality and ultimately contribute to the emancipation of consciences. The 1950s were the years when these social satires developed and some eventually became national phenomena. These films intended to create some degree of social impact, condemning individualism and plunging spectators into the heart of social and economic realities. While social satires were legion, other comedic genres still dominated the cinemtographic scene in France, a country now in search of new cinematic models. The postwar era, a period which started from the first hours of the Libération and ended with the events of May 1968, is often defined as the golden age of French comedies. The French film industry, which gradually regained a profuse cinematic productivity and innovation, saw the rise and stardom of many comedians, among whom three names flourished during these two decades: Fernandel, who had already secured national recognition before the war, Bourvil, and Louis de Funès.