The Man Who Loved Women

‘Ombre et Lumière’ by Pokrass, published by Salabert (Paris, 1927) and illustrated by Roger de Valerio.

This beautiful art deco cover by Roger de Valerio represents the Rowe Sisters. The twins Pauline & Betty Rowe started their career in France around 1924. They were one of the several twin-sister acts emulating the immensely successful Dolly Sisters.

Poster of the Rowe Sisters by Gesmar, 1925

They were known to their fans as ‘the Greyhounds of Paris’. But unlike the popular Dolly Sisters almost nothing is known about their personal lives, not even their nationality. According to newspapers of that time they were either American or English.

As stated by La Vie Parisienne in 1927, le tout Paris was “eagerly awaiting the return of the Rowe Sisters at the Casino de Paris after their success at the Alhambra in Brussels transformed them into stars.” But the leggy Rowe Sisters never became top of the bill and they stopped dancing when Betty married a hot actor and singer, Henri Garat in 1932. They met by chance in a train returning to Paris from the French Riviera and married shortly after. But she married the wrong guy.

‘C’est Malheureux d’être amoureux’, song from the ‘Rive Gauche’ Paramount film. Music by Ray Noble & lyrics by Marc Hély, sheet music published by Chappell (Paris, 1931) and illustrated by Kramer. It prominently shows the picture of a smoking Henri Garat.

Henri Garrat was known as “France’s most glittering matinee idol and film star” and was according to a then newspaper “the coqueluche of France, meaning that all the midinettes got whooping cough over him”.

Mon Amour quand je danse avec toi‘ waltz by Werner R. Heymann with French words byJean Boyer, published by Salabert (Paris, 1931) and illustrated by H. Cerutti.

A leading film actor in light romances during the 1930’s, Garat became a big star as the partner of Lilian Harvey. The cinema made him rich, very rich. He got more money than sense and led an opulent life with a yacht, several cars, a castle and too many friends who ate caviar by the spoonful at his table.

Chicago Tribune, April 1933

In the 1934 film Prince de Minuit, Betty Rowe got to play a small part together with her husband. He plays the role of a clerk in a shop selling records.

Interestingly the clip above shows —apart from a few stupefying film montages— that these shops offered a technical studio where you could cut your own record. In the next fragment of the same film Henri Garat sings Caricouli, a foxtrot composed by Maurice Yvain.

We also see Betty Rowe’s cameo: she’s a customer in the shop listening to him crooning. The clip ends with both dancing together on top of a giant revolving 78 rpm.
Betty’s career in film was short. She only appeared in minor roles in two other films. It is thanks to two stills of these other films that I was able to recognise her in the clip above. Makes me feel a top-noch archival sleuth, ahum.

Left: Betty Rowe in ‘Le Messager’, 1937. Right: Betty Rowe in ‘La souris bleue’ with her husband Henry Garat and Monique Rolland, 1936.

Betty and Henri’s marital bliss was short-lived. Just as he sang in the film ‘Un Soir de Réveilllon‘:

J’aime les femmes, j’aime les femmes
Voilà mon vice, ma faiblesse et mon défaut.

in real life our handsome jeune premier also loved women.  And these in turn found it hard to resist his charms…

Even while Betty was pregnant there were continuous rumours of affairs with other women. No wonder that five years later their marriage was over.

Henri Garat would marry four times. And ultimately his extravagant lifestyle, his consumption of cocaine, his philandering, his marriages including one with a ‘Russian countess’, his divorces and also fraud brought him ruin. His stardom started to wane. As a result he suffered from depression and had to follow a detox. He opened a restaurant and a toy store, but it didn’t work out. At the end of his life he was discreetly assisted by La Rou Tourne, a charity for the unfortunates from the world of theatre. Supported by this association Henri Garat became a pathetic attraction in theatres. He even toured with a circus. Alas too often, the public didn’t recognise the big film star anymore. Henri Garat died in poverty aged 57.

Still from the film ‘Il est charmant’ with Henri Garat and Meg Lemonnier.

Pals, just pals

Partitions musicales ilustre par Würth pour la chanson 'Les Copains' (1929)
Pals, just Pals‘, by Dave Dreyer & Herman Ruby, french lyrics of ‘Des Copains’ by René Nazelles. Sheet music published by Publications Francis-Day s.a. (Paris, 1929). Cover illustration by Würth.

I am often surprised by the direct power of many covers designed by Würth. The drawing for the ‘Pals, just Pals‘ fox-trot is deceivingly simple. With a few elements, sober colouring and small gestures the image relays the mild mood of an intimate and relaxed conversation between two long-time friends. Or do you imagine the two naval officers being more than friends?

The US version of the ‘Pals, just Pals’ song published by Irving Berlin.

Pals, just Pals‘ is the theme song of the silent film Submarine directed by Frank Capra in 1928. It tells the story of the friendship between two sailors in the US Navy. The nautical best friends accidentally pursue the same woman, and through this triangular love situation their friendship comes to an end.

The film comes to the heart of the matter when both ex-friends get involved —one as a victim the other as the saviour— in a submarine disaster. The denouement of this tragic experience is that their old friendship will renew, and for the better!
The film is inspired on the catastrophe of the U.S. submarine S-51 in 1925. There even exists a dedicated webpage about this accident at sea. The one and a half hours Capra film is on YouTube (type ‘submarino‘ for your search) but a short extract of the movie will do in order to appreciate its male flavour.

For the rest of this post, I will entertain you with other masculine friendships.

Het Eerstgeboortefeest‘ (by J. C. Kerckvoorde & S. De Haas, published by Den Boer in Middelburg, s.d.) and ‘Kwik en Kwak het lustige Vriendenpaar‘ (by a certain ‘Johan’, published by Alsbach, G. & Co in Amsterdam, s.d.)
Jolly Boys‘ by Frank Thurban. Published by Carl Gehrmans Musikförlag in Stockholm, s.d., and illustrated by Gunnar Widholm.
Camarada‘ tango by F. Canaro, published by Francis Salabert (Paris, 1923) and illustrated by Roger De Valerio.
Låt oss vara kamrater‘ by Helan (Helin) and Gösta Stevens. Skandinavisk Production (Stockholm, 1932). Illustrator: Moje Aslund
Robert Macaire (in: Avec le sourire – Revue)’ by Maurice Yvain. Editions Francis Salabert (Paris, 1921). Cover illustration by Roger De Valerio
Var lugn för mej (Sjömans-Shimmy)‘ by Victor Corzilius & Berco. Musikaliska Knuten (Stockholm, 1925), illustrated by Jacob.
Bleus et Anciens‘ by Guy Dumay Published by F. Pech & Cie (Bordeaux, 1902) and beautifully illustrated by Bernard Naudin.
Briqmolle et son camarade‘ by Ant. Queyriaux & Chicot, published by Emile Bénoit – Au Métronome (Paris, s.d.). Cover illustrated by Charles Gangloff.

Now these two last gentlemen have a very Gilbert and George attitude. The perfect reason for us to look at a short documentary on their Living Sculpture performances.
The song ‘Underneath The Arches‘ is at 1:30. How very moving it is to hear and see them singing this 1932 Flanagan and Allen ‘Great Depression’ tune.