Famous dancer Ernst (Edmond) Van Duren, Arlette Marchal, Marie Bell, and the Romanian actor Genica Missirio played the lead roles in late silent French film Figaro (Gaston Ravel, 1929), It is an adaptation of the 1778 Pierre Beaumarchais play 'The Marriage of Figaro'. Location shooting was done at the Château de Rochefort-sur-Yvelines.
![Genica Missirio in Figaro (1929)]()
French postcard by J.R.P.R., Paris, no. 99. Photo: Roger Forster. Genica Missirio in Figaro (Gaston Ravel, 1929).
![Ernst/ Edmond Van Duren in Figaro (1929)]()
French postcard by J.R.P.R., Paris, no. 301. Photo: Roger Forster. Ernst Van Duren as Figaro in Figaro (Gaston Ravel, 1929).
![Genica Missirio, Marie Bell, and Ernst (Edmond) Van Duren in Figaro (1929)]()
French postcard by J.R.P.R., Paris, no. 304. Photo: Roger Forster. Genica Missirio, Marie Bell, and Ernst Van Duren (up in the tree) in Figaro (Gaston Ravel, 1929).
Ernst / Ernest/ Edmond Van Duren was a famous dancer, who - together with his dance partner Edmonde Guy - was popular all over Europe and the US in the 1920s. He acted in a handful films, including leads in Manege (Max Reichmann, 1928) and Princesse Mandane (Germaine Dulac, 1928). In 1930 he committed suicide.
Van Duren's last film was Figaro (Gaston Ravel, 1929). Wikipedia and IMDb list Tony Lekain as co-director of Figaro, but according to Ciné-Ressources Lekain was only the set designer.
Van Duren, listed as Edmond Van Duren, had the lead as the title character, opposite Arlette Marchal as Rosine, Marie Bell as Suzanne, Génica Missirio as Bogaerts, and Tony D'Algy as the Count of Almaviva. Other actors were a.o. José Davert and Jean Weber. The cinematography was by Albert Duverger, costumes by Georges Benda.
Figaro (Gaston Ravel, 1929) is an adaptation of the Pierre Beaumarchais play 'La Folle Journée, ou Le Mariage de Figaro' (The Marriage of Figaro), with material also used from its prequel and sequel. This play is the second in the Figaro trilogy, preceded by 'The Barber of Seville' and followed by 'The Guilty Mother'. 'The Marriage of Figaro' opened to enormous success; it was said to have grossed 100,000 francs in the first twenty showings. The theatre was so packed that three people were reportedly crushed to death in the opening-night crowd. Eight years later, the play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Wolfgang Amadeus Mozart, also called 'The Marriage of Figaro' (1786).
The Barber of Seville: The Spanish count Almaviva has fallen in love at first sight with the girl Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student and attempts to woo her. His plans are foiled by Rosine's guardian, Doctor Bartholo, who keeps her locked up in his house and intends to marry her himself. The Count's luck changes, however, after a chance reunion with an ex-servant of his, Figaro, who is currently working as a barber and therefore has access to the Doctor's home. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk. The story culminates in the marriage of the Count and Rosine.
The Marriage of Figaro: Figaro's marriage resumed three years after the end of The Barber of Seville when Figaro was promised to become Susanna's husband; both characters are part of the Count's staff in his home. In the three years since Figaro has helped to forge the marriage of the Count and Rosina, the Count has already been bored with his marriage but has noticed Susanna's beauty. The Count tries to assert the Ius primae noctis (the right of the first night), before Figaro's honeymoon, but Figaro is alert. They dress the Countess' page Chérubin as Susanna, but then the Count knocks on the door. Quickly the page escapes through the window, Susanne substitutes for him and the Count offers an apology.
The Guilty Mother: Countess and Chérubin spent a night together, but she thought it wrong, so he left for war and got himself killed. While dying he wrote a final letter, which the Countess kept in a secret drawer in a box made by the Irishman Bégearss. The Countess, though, became pregnant with Chérubin's child. The Count has been suspicious all these years that he is not the father of Léon, the Countess's son, and so he has been rapidly trying to spend his fortune to ensure the boy won't inherit any of it, even having gone so far as to renounce his title and move the family to Paris. As he has nevertheless held some doubts, and therefore has never officially disowned the boy or even brought up his suspicions to the Countess. Meanwhile, the Count has an illegitimate child of his own, a daughter named Florestine. Bégearss wants to marry her, and to ensure that she will be the Count's only heir, he begins to stir up trouble over the Countess's secret. Figaro and Suzanne, who are still married, must once again come to the rescue of the Count and Countess; and of their illegitimate children Léon and Florestine, who are secretly in love with each other.
![Arlette Marchal and Tony D'Algy in Figaro (1929)]()
French postcard by J.R.P.R., Paris, no. 305. Photo: Roger Forster. Arlette Marchal and Tony D'Algy in Figaro (Gaston Ravel, 1929).
![Figaro, with Arlette Marchal & E. van Duren & Marie Bell_JRPR; 307. Photo Roger Forster]()
French postcard by J.R.P.R., Paris, no. 307. Photo: Roger Forster. Arlette Marchal, Ernst van Duren and Marie Bell in Figaro (Gaston Ravel, 1929). Collection: Manuel Palomino Arjona (Flickr).
![DUREN, E. van & BELL, Marie in Figaro_JRPR; 309]()
French postcard by J.R.P.R., Paris, no. 309. Photo: Roger Forster. Ernst van Duren and Marie Bell in Figaro (Gaston Ravel, 1929). Collection: Manuel Palomino Arjona (Flickr).
Sources: Ciné-Ressources (French), Wikipedia and IMDb.
French postcard by J.R.P.R., Paris, no. 99. Photo: Roger Forster. Genica Missirio in Figaro (Gaston Ravel, 1929).
French postcard by J.R.P.R., Paris, no. 301. Photo: Roger Forster. Ernst Van Duren as Figaro in Figaro (Gaston Ravel, 1929).
French postcard by J.R.P.R., Paris, no. 304. Photo: Roger Forster. Genica Missirio, Marie Bell, and Ernst Van Duren (up in the tree) in Figaro (Gaston Ravel, 1929).
Three people were crushed to death in the opening-night crowd
Ernst / Ernest/ Edmond Van Duren was a famous dancer, who - together with his dance partner Edmonde Guy - was popular all over Europe and the US in the 1920s. He acted in a handful films, including leads in Manege (Max Reichmann, 1928) and Princesse Mandane (Germaine Dulac, 1928). In 1930 he committed suicide.
Van Duren's last film was Figaro (Gaston Ravel, 1929). Wikipedia and IMDb list Tony Lekain as co-director of Figaro, but according to Ciné-Ressources Lekain was only the set designer.
Van Duren, listed as Edmond Van Duren, had the lead as the title character, opposite Arlette Marchal as Rosine, Marie Bell as Suzanne, Génica Missirio as Bogaerts, and Tony D'Algy as the Count of Almaviva. Other actors were a.o. José Davert and Jean Weber. The cinematography was by Albert Duverger, costumes by Georges Benda.
Figaro (Gaston Ravel, 1929) is an adaptation of the Pierre Beaumarchais play 'La Folle Journée, ou Le Mariage de Figaro' (The Marriage of Figaro), with material also used from its prequel and sequel. This play is the second in the Figaro trilogy, preceded by 'The Barber of Seville' and followed by 'The Guilty Mother'. 'The Marriage of Figaro' opened to enormous success; it was said to have grossed 100,000 francs in the first twenty showings. The theatre was so packed that three people were reportedly crushed to death in the opening-night crowd. Eight years later, the play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Wolfgang Amadeus Mozart, also called 'The Marriage of Figaro' (1786).
The Barber of Seville: The Spanish count Almaviva has fallen in love at first sight with the girl Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student and attempts to woo her. His plans are foiled by Rosine's guardian, Doctor Bartholo, who keeps her locked up in his house and intends to marry her himself. The Count's luck changes, however, after a chance reunion with an ex-servant of his, Figaro, who is currently working as a barber and therefore has access to the Doctor's home. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk. The story culminates in the marriage of the Count and Rosine.
The Marriage of Figaro: Figaro's marriage resumed three years after the end of The Barber of Seville when Figaro was promised to become Susanna's husband; both characters are part of the Count's staff in his home. In the three years since Figaro has helped to forge the marriage of the Count and Rosina, the Count has already been bored with his marriage but has noticed Susanna's beauty. The Count tries to assert the Ius primae noctis (the right of the first night), before Figaro's honeymoon, but Figaro is alert. They dress the Countess' page Chérubin as Susanna, but then the Count knocks on the door. Quickly the page escapes through the window, Susanne substitutes for him and the Count offers an apology.
The Guilty Mother: Countess and Chérubin spent a night together, but she thought it wrong, so he left for war and got himself killed. While dying he wrote a final letter, which the Countess kept in a secret drawer in a box made by the Irishman Bégearss. The Countess, though, became pregnant with Chérubin's child. The Count has been suspicious all these years that he is not the father of Léon, the Countess's son, and so he has been rapidly trying to spend his fortune to ensure the boy won't inherit any of it, even having gone so far as to renounce his title and move the family to Paris. As he has nevertheless held some doubts, and therefore has never officially disowned the boy or even brought up his suspicions to the Countess. Meanwhile, the Count has an illegitimate child of his own, a daughter named Florestine. Bégearss wants to marry her, and to ensure that she will be the Count's only heir, he begins to stir up trouble over the Countess's secret. Figaro and Suzanne, who are still married, must once again come to the rescue of the Count and Countess; and of their illegitimate children Léon and Florestine, who are secretly in love with each other.
French postcard by J.R.P.R., Paris, no. 305. Photo: Roger Forster. Arlette Marchal and Tony D'Algy in Figaro (Gaston Ravel, 1929).
French postcard by J.R.P.R., Paris, no. 307. Photo: Roger Forster. Arlette Marchal, Ernst van Duren and Marie Bell in Figaro (Gaston Ravel, 1929). Collection: Manuel Palomino Arjona (Flickr).
French postcard by J.R.P.R., Paris, no. 309. Photo: Roger Forster. Ernst van Duren and Marie Bell in Figaro (Gaston Ravel, 1929). Collection: Manuel Palomino Arjona (Flickr).
Sources: Ciné-Ressources (French), Wikipedia and IMDb.