Exploring location shooting in Joseph Losey’s M Klein

Previous post about Joseph Losey and the film M Klein: A behind-the-scenes introduction to M Klein

The use of Paris locations in the shooting of Joseph Losey’s M Klein

Location shooting is always a hassle. Some locations, like the abandoned factory or iconic city park, are well known and repeatedly used by films. But often film locations hide under the surface of everyday life, requiring intimate knowledge of the city to pull them out. Joseph Losey never lived in Paris but was determined to use locations in the filming of M Klein, eschewing the safe confines of the film studio for the realism of the buildings and streets of Paris. Finding those locations rested on the shoulders of the Art Director, Alexandre Trauner. Trauner presented Losey with potential locations and if Losey approved the responsibility of permitting and other business arrangements were handled by the production company.

Joseph Losey
▲ Losey scouting a location which was later used on an early morning, with police wagons picking up Jews from their homes. In the middle are three assistant directors and the man on the right is Alexandre Trauner, the Art Director.

Though he experienced push-back from the production company related to the increased cost and logistical complexity, Losey prevailed, using thirty two locations for the shooting in M Klein. These locations admittedly increased production headaches but added greater realism to the film. Location shooting also kept everyone sharp since each day would throw unpredictable challenges at the crew, most of whom were experienced professionals who liked rising to the challenge.

▲ The Grand Palais in Paris was used as one of the police collection points in the movie. Losey is explaining how he wants the framing to Gerry Fisher (in the light colored coat), Director of Photography.

The second Klein’s apartment was a good example. The location was at 42 rue des Panoyaux and has long since been replaced by apartment buildings. The exterior courtyard was used for the scene (“Concierge loge”) where the French Klein is looking for his double and he questions the concierge. The same location is used immediately afterwards in the film for the interior shots where the concierge allows the French Klein to inspect the Jewish Klein’s abandoned apartment. There was something sublimely ironic about famous movie stars and a well-known director having to work in filthy spaces only the poorest people would know.

▲ Nobody dreams up this level of realism, and it’s why location shooting wins out over studios. The doorway is inside the courtyard at 42 rue des Panoyaux where the concierge is angrily resisting being grilled by Klein.

As an illustration of location challenges, even arranging for the use of this building was complicated. The production company had to negotiate a shooting permit from the city government and a condition attached to the permit required extensive shoring of the building before the film crew would be let in, so there were significant costs in engineering and construction. Once everyone had jumped through the hoops, the actual filming required a complicated location setup. There was staff outside on the street managing the crowd of people who gathered hoping to catch a glimpse of Alain Delon, generator trucks with long cables supplying power, and intricate lighting setups because of cramped quarters. The camera crew didn’t have room to assemble their gear so that had to be done down the street at another address.

▲ Alain Delon’s sleek Citroën has just pulled up on the rundown street used for the second Klein apartment and Mme Ludmilla Goulian (Production Manager) is standing at his window. The group of locals are about to get a glimpse of their star. The three men with backs turned in the middle of the street are bodyguards for Delon.

Then the snow started. It hardly ever snows in Paris, but nature chose that morning. There was nothing to do other than protect the equipment and reschedule.

Problems of location shooting
Vicissitudes of location shooting Work to set up for the shot had started at 6am. Actors were in their dressing trailers prepared to go. Everyone was ready to start shooting, and then the snow started …

Another location which, atypically, wasn’t in Paris but didn’t work out smoothly either was in Strasbourg and was used for the shots along the canal. On arrival in Strasbourg Losey had a serious asthma attack and was not well, adding to the stress.

The location along the canal had been scouted in advance, but someone overlooked that tracking shots were called for. The underfoot surfaces were rough – brick cobblestones and a wooden walkway – making any movement of the camera a challenge, much less the fluid moves Losey expected.

▲ Losey arriving at the location in Strasbourg and being informed of major problems by Gerry Fisher, Director of Photography. The man reacting on the right next to Losey is his First Assistant Director, Phillipe Monnier and just behind him is Alexandre Trauner, who was probably the person who had signed off on the location. The man taking notes is an assistant director, and Lucie Lichtig (in the Russian hat, Continuity) is watching Losey to see gauge if he’ll explode. It was not a happy moment.
▲ Sand has been spread over the bumpy brick surface and a quickly-requisitioned Deux Chevaux is being hastily stripped so the camera can be mounted through the sunroof. Charles Lefèvre, the Chief Electrician, is glaring at me, registering his opinion that this level of disaster didn’t need to be photographed. Alexandre Trauner, the Art Director, on the left with his assistant, is hoping the newly spread sand will work to smooth out the surface and save the shot.

This was a serious problem because the clock was ticking – it had already cost a lot to move the whole production to Strasbourg and the shots needed to go off according the schedule. Everyone was under the gun. The machinists rigged up a hastily modified soft-tired Citroën Deux Chevaux with the Panavision camera on a tripod, tightly lashed to its floor. This whole rig was pushed by human-power but only after the bricks were wiped with sand to smooth them out a bit (which introduced its own problems).

▲ The first sequence is being shot. The Panavision camera has been mounted on the Deux Chevaux which is being pushed by hand. Klein powers his father through the sand in the wheelchair while Losey (back to camera, right) watches the shot.

It was also problematic that Klein’s father was in a wheelchair and at the beginning of the shot his caretaker had to push him while he spoke, with Robert Klein taking over partway through. In the resulting shot it’s obvious that sand has been spread around (it looks out of place) and there are a lot of wobbles in the movement of the wheelchair (and the car-mounted camera). Luckily, the actor playing the caretaker and then Delon, after he took over, were strong enough to get a marginally acceptable result.

▲ Klein taking over from his father’s caretaker (left) and pushing the wheelchair through the sand in a frame taken from the movie (Ⓒ Lira Films – Nova Films).

In the next shot (on the problematic wooden walkway) the Deux Chevaux was used for the establishing shot with Klein’s body screening view of the sand that had been spread to even the walkway. The next shot, a side closeup, is a long tracking (rail) shot. Again, Delon had the challenge of pushing his father on slats that had been leveled as much as possible with sand, trying to power through and disguise the problem. A true professional, Delon was strong enough to concentrate on his role without appearing the least bit rattled.

▲ Track has been laid down for the camera, and sand on the boards to try and even things out when pushing the wheelchair. This setup worked better than the Deux Chevaux, and was more traditional as well.

Each location had its problems, some less than others but some more too. The complicated and costly stadium scene at the end of the film was so difficult that the filming broke down towards the end of the day, and the editor had to work to salvage what he could. But overall the use of locations did a lot to make M Klein echo the time and events it was portraying, and to enhance and reinforce the reputation of the film.

Other posts in this series about M Klein: Joseph Losey’s film M Klein: A behind-the-scenes look

Locations arranged by date

Name of sceneLocationAddressFilming date
Titles
Cabinet du professeur Montandon et Salle d'attente & couloirsHôpital Cousin de Mericourt & Besson15, av Cousin de Méricourt 242230 Cachan1-Dec-75
Chambre/Salle de bainsStudios de Boulogne2, rue de Silly, Boulogne (Plateau A)3-Dec-75
Appartement Robert KleinStudios de Boulogne2, rue de Silly, Boulogne (Plateau A)4-Dec-75
Appartement Robert Klein - ChambreStudios de Boulogne2, rue de Silly, Boulogne (Plateau A)5-Dec-75
Appartement Robert Klein - Rez-de-chausseeStudios de Boulogne2, rue de Silly, Boulogne (Plateau A)5-Dec-75
Repetition du spectacle Frantz SalieriStudio Constant13, boulevard de Clichy6-Dec-75
Repetition du spectacle Frantz SalieriStudio Constant13, boulevard de Clichy8-Dec-75
Salle des ventesHotel Intercontinental3, rue de Castilglione8-Dec-75
Boite de nuiteCabaret: "La Nouvelle Eve"25, rue Fontaine9-Dec-75
Boite de nuiteCabaret: "La Nouvelle Eve"25, rue Fontaine10-Dec-75
Coulisses theatreCoulisses Theatre25, rue Fontaine11-Dec-75
Administration du journalImprimerie C.I.B.7, rue Darboy 7500112-Dec-75
Rue de Paris, vers 2éme KleinRue de ParisRue Gasnier Guy12-Dec-75
Rue de Paris minutageRue de ParisRue Lepic (à l'angle de la rue de Lorient)15-Dec-75
Bistrot TelephoneCafé "Au Réveil Matin"23 rue Chanzy15-Dec-75
Appartement Robert KleinStudios de Boulogne2, rue de Silly, Boulogne (Plateau A)16-Dec-75
PhotographeStudios de Boulogne2, rue de Silly, Boulogne (Plateau A)16-Dec-75
Façade maison 2ème KleinFaçade Maison 2ème Klein42 rue des Panoyaux17-Dec-75
Loge ConciergeLoge Concierge42 rue des Panoyaux17-Dec-75
Maison 2ème KleinMaison 2ème Klein42 rue des Panoyaux18-Dec-75
Maison 2ème KleinMaison 2ème Klein42 rue des Panoyaux18-Dec-75
Rue maison 2ème KleinMaison 2ème Klein42 rue des Panoyaux19-Dec-75
Cour & loge maison 2ème KleinCour & loge maison 2ème Klein42 rue des Panoyaux19-Dec-75
Appartement 2ème Robert KleinAppartement 2ème Klein42 rue des Panoyaux19-Dec-75
Lycée Henri IV Lycée Henri IV23 rue Clovis22-Dec-75
Rue immeuble 2ème KleinRue immeuble 2ème Klein42, rue des Panoyaux22-Dec-75
Cour maison Robert KleinRue du Bac110 rue du Bac23-Dec-75
Cour maison Robert KleinRue du Bac110 rue du Bac23-Dec-75
Cour maison Robert KleinRue du Bac110 rue du Bac23-Dec-75
Cour maison Robert KleinRue du Bac110 rue du Bac23-Dec-75
Cour maison Robert KleinRue du Bac110 rue du Bac24-Dec-75
Cour maison Robert KleinRue du Bac110 rue du Bac24-Dec-75
Appartement Robert KleinStudios de Boulogne42 rue des Panoyaux29-Dec-75
Appartement Robert KleinStudios de Boulogne42 rue des Panoyaux30-Dec-75
Appartement Robert KleinStudios de Boulogne42 rue des Panoyaux30-Dec-75
Appartement Robert KleinStudios de Boulogne42 rue des Panoyaux31-Dec-75
Appartement Robert KleinStudios de Boulogne42 rue des Panoyaux31-Dec-75
Appartement Robert KleinStudios de Boulogne42 rue des Panoyaux5-Jan-76
Appartement Robert KleinStudios de Boulogne43 rue des Panoyaux5-Jan-76
Appartement Robert KleinStudios de Boulogne44 rue des Panoyaux5-Jan-76
Appartement Robert KleinStudios de Boulogne45 rue des Panoyaux5-Jan-76
Appartement Robert KleinStudios de Boulogne45 rue des Panoyaux6-Jan-76
Prefecture, salle de reunionStudios de Boulogne45 rue des Panoyaux6-Jan-76
Bureau FonctionnaireStudios de Boulogne45 rue des Panoyaux6-Jan-76
Répétition séquence Usine stage CStudios de Boulogne46 rue des Panoyaux7-Jan-76
Boulevard Minutage (Exterieur)Pont St-Louis, angle quai d'Orlean7-Jan-76
Prefecture-Tri Stage AStudios de Boulogne42 rue des Panoyaux7-Jan-76
UsineUsine CitroënAngle Quai André Citroën et rue Leblanc8-Jan-76
DepotCaserne des pompiers1, Place Jules Renard9-Jan-76
MetroMetro1, Place Balard9-Jan-76
La CoupoleLa Coupole102, bld du Montparnasse12-Jan-76
Appartement Robert KleinStudios de Boulogne42, rue des Panoyaux13-Jan-76
Morgue Stage C Studios de Boulogne42, rue des Panoyaux13-Jan-76
Retake "Tapisserie"Studios de Boulogne42, rue des Panoyaux13-Jan-76
EgliseEglise Saint-EustacheAngle rue Montmartre et rue Coquillère14-Jan-75
Journee de voyage Paris/Strasboug15-Jan-76
Jardin PublicStrasbourgLe Bord de L'Ill (Place Benjamin Zix)16-Jan-76
Gare Ivry la BatailleGare de Mortcerf 7722019-Jan-75
Quai gareGare D'AusterlitzQuai gare20-Jan-76
Train en marcheGare D'AusterlitzVoie 21 Gare D'Austerlitz21-Jan-76
No call sheet, shooting cancelled22-Jan-76
Police car depotGrand Palais22-Jan-76
Maison PierreRue St-Dominiquec/o M Netter, 11 bis, rue St-Dominique23-Jan-76
KiosqueRue du Bac110 rue du Bac26-Jan-76
Morgue Stage AStudios de Boulogne42 rue des Panoyaux26-Jan-76
Scouting Château d'EsclimontChâteau26-Jan-76
Stade"La Cipale" (Vélodrome Municipal de Vincennes)Avenue de Gravelle Paris 1228-Jan-76
Stade"La Cipale" (Vélodrome Municipal de Vincennes)Avenue de Gravelle Paris 1229-Jan-76
MinutagePlace Lucien Herr 5ème30-Jan-76
Int. autobus en marcheAutobus68, rue Coriolis (12ème)30-Jan-76
Eventuellement, décor: Retakes tapisserieStudios de Boulogne42, rue des Panoyaux30-Jan-76
Wagons fin de filmGabriel Lamé1 rue Gabriel Lamé31-Jan-76
Posted in Joseph Losey, Europe, Paris
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2 comments on “Exploring location shooting in Joseph Losey’s M Klein
  1. Edward Yankie says:

    Really enjoying this slice of cinema history that you are commemorating for the ages. I think location shooting is worth all the fuss and effort. Especially when it becomes a cultural artifact and a slice of history. Love the photos!

  2. Ann Elbourne says:

    Fascinating insight into the complications of making a movie. May I share the article with granddaughter Leah who is studying film making at Concordia?

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