Après élection, Marcel Pagnol est devenu, le 27 mars 1947, un immortel de l'Académie Française. Arrivé à l'Académie, sous la coupole, il prononce son discours, dont un court extrait vous ait livré ici.
Interviewé, Marcel Pagnol explique qu'après mort de Maurice Donnay, dernier auteur dramatique académicien, Emile Fabre et Romain Coolus l'ont encouragé à se présenter.
The writer Marcel Pagnol praises the Pocket Book collection, "a social fact of capital importance", which gives access to literature to a wider audience. He welcomes the prints reached by works by Suétone, Rimbaud or Verlaine. He believes that it is "a means of culture almost as powerful as radio or television". The commentary concludes that the book, thus becoming a consumer product, loses nothing of its value.
At his Parisian home, Marcel Pagnol continues his evocation of silent cinema and the beginnings of talking cinema, recalling certain technical constraints of the moment.
At his Parisian home, Marcel Pagnol evokes silent cinema and the beginnings of talking cinema. The director recalls the diatribes made by some critics against talking cinema.
Marcel PAGNOL is interested in the accents of Marseille and the old port. It is that of the old port that he used to write "Marius" or "Fanny". There is also that of the rich inhabitants of Rue Paradis in Marseille and the Saint-Michel plain. It also varies with social class. The letter "r" is like the Spanish jota and is accentuated as in the word evening.
Dans son bureau, Marcel Pagnol parle à Michel Polac de ses lectures et notamment des livres scolaires qu'il affectionne tout particulièrement "Ca a été le rêve de ma vie de faire un livre où on prenne des dictées... Pour moi, fils d'instituteur et ancien professeur, c'est le comble de la gloire."