The Irresistible Pull of Gritty Cities | Part 1 of 2

Catania Open Market I envy the Sicilians and their abundant produce, even at the end of November. Their markets are noisy and colorful. The produce feels close to the farm, which it is.

The Irresistible Pull of Gritty Cities: Understanding Why We Love What We’re Missing

I’ve always found myself drawn to certain cities with an almost magnetic pull – places that feel lived-in, weathered, and wonderfully imperfect. From the narrow stone alleys of Damascus to the chaotic vitality of Mexico City, from Palermo’s winding streets to the crumbling decadence of Thessaloniki, these are cities that seem to embrace their contradictions. They’re places where modernity coexists awkwardly but beautifully with centuries of accumulated history, where every street corner tells multiple stories, and where the urban fabric feels genuinely human in scale.

Thessaloniki Old City We drove our car through these streets and it was definitely a social experience, since traffic was both directions and each encounter was a negotiation. The stairs on the right definitely would not satisfy Montreal’s setback regulations.

As someone who calls Montreal home – a city that sits comfortably between order and character – I often wonder what it is about these grittier places that captivates me so deeply. Is it simply the allure of the tourist’s gaze, romanticizing what locals might find frustrating? Or is there something more fundamental about how these cities are designed and how they’ve evolved that creates genuinely superior urban experiences?

I believe it’s the latter. These cities embody qualities that many of our more regulated, sanitized urban environments have systematically designed out – and in doing so, we’ve lost something essential about what makes a city truly livable.

Jean-Talon Market Montreal Our winter markets are abundant but everything is quite orderly, and (sadly!) imported from afar, especially when compared to Catania.

The Human Scale That We’ve Forgotten

Walk through the old quarters of Damascus or wander the residential streets of Palermo, and you’re immediately struck by how perfectly sized everything feels for human beings. Buildings rise to four or five stories – tall enough to create urban passageways but low enough that you can still make eye contact with someone leaning out a third-floor window. Streets are narrow enough that neighbours can converse across them but wide enough for the essential choreography of urban life: children playing, vendors selling, neighbours meeting, deliveries being made, life happening.

Damascus Street Football Other than there not being any women in this photograph, a lot is happening on the street. This was in the Old City.

This isn’t accidental. It’s the result of centuries of organic development where buildings were constructed at the pace and scale that individual families and small communities could manage. In Thessaloniki, the traditional urban fabric prioritizes pedestrian comfort over vehicular efficiency. The narrow streets that might frustrate a traffic planner become perfect corridors for social interaction, where the pace naturally slows and encounters become inevitable.

Palermo’s streets pick up on the city’s ancient layout, with automobiles present but taking a backseat.

Contrast this with our modern approach to urban development, where efficiency and standardization trump human experience. Even in Montreal, our newer developments tend towards what we define as modern experience – wider streets, taller buildings, larger blocks that prioritize movement over lingering. We’ve optimized for cars and commerce rather than for the casual encounters and spontaneous connections that actually make urban life rich.

Looking north in Montreal from Côte-des-neiges at residential and commercial buildings in one of the fastest expanding parts of the city.

The smaller scale of these older cities creates what seems to me the conditions necessary for urban vitality. Even though they may look to be museum pieces, they aren’t. They are living examples of urban design that puts human experience first.

Public Spaces as the City’s Living Rooms

Perhaps nothing distinguishes these gritty, beloved cities more than the quality and accessibility of their public spaces. Not just parks or grand plazas, but the everyday spaces where public life unfolds: the stepped streets of Damascus that become impromptu gathering places, the piazzas of Palermo that serve as outdoor living rooms for entire neighbourhoods, the casual sidewalk life of Mexico City where sidewalks and public spaces encourage people to meet and relax”.

These cities understand something fundamental: public space isn’t just about recreation, it’s about democracy. It’s where different social classes, ages, and backgrounds encounter each other naturally. When public space works well, it becomes the foundation for social cohesion and civic engagement.

Preparation for Women’s Day March International Women’s Day has been commemorated in Mexico City since the 1930s, but the massive street mobilizations began gaining momentum in more recent decades as a response to Mexico’s epidemic of gender-based violence.

Mexico City is often dismissed as sprawling and car-dependent, but alongside that reality I see a lot more going on. The city’s downtown areas have spacious parks and sidewalks, accommodating an unending ballet of commuters, tourists, and street vendors. On Sundays, major arteries like Paseo de la Reforma are closed to cars and opened to pedestrians and cyclists, temporarily transforming the large parts of the city into one enormous public space.

Mexico City’s less romantic side The city government has tried different approaches at reducing car traffic, all with little success. Nevertheless, there is an inexpensive and well-used public transport system used by 14 million people a day. The open lane is a reverse direction lane for buses.

What these cities understand is that public space isn’t a luxury – it’s infrastructure. Just as essential as water pipes or electrical grids, public space is the network that allows urban society to function, providing the venues for the informal encounters and casual sociability that bind communities together.

Walkability as a Way of Life

In these cities, walking isn’t exercise or a lifestyle choice – it’s simply how you get around. This creates a fundamentally different relationship between residents and their urban environment. When you walk regularly, you notice things: the quality of surfaces, the presence or absence of shade, the rhythm of street life, the small businesses tucked into ground floors.

Damascus Old City Bakery Man carries away hot bread purchased from a small bakery.

Thessaloniki, despite its challenges with broken pavements and sidewalks, illegally parked cars and motorcycles, kiosks and coffee tables, has a vibrant street culture. I look forward to going back soon to see how the city has adapted to its newly-opened metro system, which hopefully will reduce the perpetual gridlock many of its streets experience during the day. Hopefully the ongoing integration of walking and public transit has created an even more layered urban experience.

Mexico City exemplifies this integration beautifully. Despite its size and complexity, the city maintains an impressive pedestrian culture. Under the leadership of mayor Claudia Sheinbaum (who has a background in environmental engineering) the city dramatically expanded its network of public transit, bolstering its generous public spaces with wide sidewalks and creative public squares.

Mexico City’s Metrobus System provides rapid transit with a two dedicated lane system. Multi-unit buses (some all electric) load in stations much like a metro line. Claudi Sheinbaum was instrumental in launching the system as Secretary of the Environment (2000-2006) under then-mayor Andrés Manuel López Obrador, who went on to be President, as she has too.

Next week: Housing.
The Damascus photographs in this post are taken from a book I’m just finishing on an experience I had with my father, returning to where he was born.

Posted in Social Documentary, Architecture, Canada, Europe, Mexico, Travel
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Michael Pitts

Michael Pitts Dean of Christ Church Cathedral, Montreal, 1991-2009.

A Dean Who Changed Our Lives: Remembering Michael Pitts

On Sunday morning as I sit in the familiar wooden pew of Christ Church Cathedral during the Sunday mass, listening to the announcement of his death, I can’t help but think of the man who shaped this sacred space for so many of us over eighteen transformative years. The Very Reverend Michael J. Pitts served as our Dean from 1991 to 2009, but to simply list those dates feels inadequate – almost insulting – to capture what this remarkable man meant to our cathedral community.

When Michael first arrived in Montreal from England in 1988, eventually taking on the deanship in 1991, Christ Church Cathedral was at something of a crossroads. The Anglican Church was grappling with questions of identity, relevance, and inclusion that would define the next several decades. We needed more than just a competent administrator or a polished preacher – we needed a visionary, a pastor, and a bridge-builder. In Michael Pitts, we found all three.

The Preacher and Teacher

Michael’s sermons were legendary among our congregation, and for good reason. Here was a man who had studied classics and ancient history at Oxford, trained at Queen’s College Birmingham, yet possessed the rare gift of making complex theological concepts accessible to everyone struggling with faith questions. His intellectual rigor never overshadowed his pastoral heart. Whether he was exploring the intersection of science and faith – a particular passion of his – or unpacking a difficult biblical passage, Michael had this remarkable ability to make you feel both challenged and comforted.

A Champion of Justice

Perhaps what I admired most about Michael was his courage in championing causes that weren’t always popular, even within our own Anglican community. His advocacy for the full inclusion of LGBTQ2S persons in church life and ministry wasn’t just a theological position for him – it was a moral imperative rooted in his understanding of the Gospel. This wasn’t easy in the 1990s and early 2000s, when these conversations were tearing apart Anglican communities worldwide.

In Dean Pitt’s tenure huge strides were made as the Cathedral contributed to leading the diocese on LGBTQ2S issues. In July, 2006 Bishop Gene Robinson, the first openly gay bishop in the Anglican church, gives the sermon during a special mass at the Cathedral.

Michael navigated these turbulent waters with remarkable grace. He never compromised his convictions, but he also never demonized those who disagreed with him. Instead, he created space for dialogue, for questions, for gradual understanding. Our cathedral became a place where gay and lesbian couples felt welcomed long before it was officially sanctioned, where transgender individuals found acceptance, where families wrestling with these issues could find support rather than judgment.

Dean Pitts with Assistant Priest Joyce Sanchez. With Canon Sanchez and Dean Pitts the cathedral had a leadership team that helped ordain the first openly gay priest in the diocese (2012).

Michael understood that justice work wasn’t separate from pastoral care – it was pastoral care. When he stood up for the marginalized, he was doing exactly what he’d been called to do as our Dean.

▲ With Kylliki near their home in Rawdon. December, 2004.

A Family Man in Our Cathedral Family

Michael’s wife, Kyllikki, herself a Lutheran pastor and theologian, brought her own wisdom and warmth to our community. In her quiet way she was a strong presence alongside him, and together they formed a strong union from which we were all touched by their love.

Michael never pretended to have it all figured out. Throughout his life, as well as his time with us, he was refreshingly honest about the challenges of ministry, the struggles of faith, the difficulty of maintaining work-life balance. This vulnerability made him more effective as a leader, not less. We trusted him precisely because he didn’t present himself as superhuman.

Beyond the Cathedral Walls

Michael’s ministry extended far beyond our cathedral walls. His work with seafarers, factory workers, and the urban homeless before coming to Montreal shaped his understanding that the Gospel was meant for everyone, especially those on society’s margins. During his time as Dean, he maintained connections with Montreal’s broader community, participating in interfaith dialogue, social justice initiatives, and community building efforts that reflected well on all of us.

▲ Dean Pitts with Cuban children in our then-partner Anglican cathedral in Havana. The relationship with the Havana community was established through the work of Canon Sanchez. Dean Pitts made two trips to Cuba, where found a vibrant congregation participating both in their faith and as members of the communist state. (Photo credit: unknown)

After his retirement from the deanship in 2009, Michael’s commitment to ministry only deepened. His work in the Diocese of Quebec, travelling by air, water, and land to serve isolated fishing villages along the north shore, demonstrated that his calling to serve had nothing to do with prestige or comfort. Here was a man in his seventies, still willing to endure difficult travel conditions to bring communion to people others might have forgotten.

A Lasting Legacy

As I look around our cathedral today, I see Michael’s fingerprints everywhere. Not in any physical renovations but in the spirit of the place. We’re still the inclusive, intellectually honest, socially conscious community he helped shape. New members often comment on the warmth they feel here, the sense that questions are welcomed rather than discouraged, that faith is understood as a journey rather than a destination.

Michael taught us that being Anglican didn’t mean being wishy-washy or uncommitted. Instead, he showed us that our tradition’s emphasis on reason, scripture, and tradition working together could produce a faith that was both deeply rooted and dynamically responsive to the needs of each new generation.

The Very Reverend Michael J. Pitts wasn’t perfect – he’d be the first to tell you that. But he was exactly the Dean we needed when we needed him. He challenged us to grow, and showed us what it looked like to live out the Gospel with both conviction and compassion. For those of us privileged to call him our Dean for eighteen years, the gratitude we feel is matched only by the responsibility we carry to continue the work he began among us.

Posted in Montreal, Canada, Christ Church Cathedral Montreal
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Pizza’s Enduring Stigma

The Enduring Stigma: How Pizza’s Working-Class Roots and Ethnic Identity Shaped Its Journey from Naples to North America

Domenico DeMarco arrived from the Province of Caserta in 1959 and opened his Brooklyn pizzeria in 1965, making pizzas personally by hand for over fifty years. He became a touchstone to younger chefs because of his unwavering commitment to quality. In spite of the recognition, he never stepped out of his working-class background. He died in 2022. I took this picture in 2016.

Pizza’s story in North America is far more complex than the simple tale of an Italian dish finding universal love. While today for many of us pizza ranks among our most beloved foods its journey from the narrow streets of Naples to North American ubiquity carries with it a persistent narrative about class, ethnicity, and the ongoing struggle for acceptance that defines the immigrant experience.

The Lazzaroni (“Happy Beggars”), Naples, Italy, about 1903. (Credit: H.C. White Co. taken from a stereograph, US Library of Congress)

Pizza began as food for society’s most marginalized. In 18th century Naples, pizza served as sustenance for the lazzaroni – the disheveled working poor who flocked to the thriving seaport city seeking labor. These street vendors balanced hot tin stoves on their heads, selling simple flatbreads topped with whatever was affordable: oil, garlic, tomatoes, and occasionally fish or cheese for those with extra coins. The food embodied desperation and survival – Alexandre Dumas noted in 1835 that Naples’ poor “existed exclusively on pizza in winter and watermelon in summer”. Even a credit system emerged called “Pizza al Otto,” allowing the destitute to pay for stale pizza eight days later, grimly nicknamed “the last supper” if they died before settling their debt.

Italian immigrant family on ferry, leaving Ellis Island. (Credit: Lewis Hine, US Library of Congress)

The Double Burden of Ethnicity and Class

When Italian immigrants began arriving in North America during the late 19th and early 20th centuries, they carried with them not just their culinary traditions, but also their association with poverty and marginalization. Between 1880 and 1920, over 4 million Italians immigrated to the United States and about 70,000 to Canada (about 70,000)1, most fleeing the grinding poverty of Southern Italy and Sicily. They encountered hostile societies that viewed them as racially inferior, culturally unassimilable, and dangerously foreign.

Italians faced systematic discrimination that went far beyond mere prejudice. In the US they were subjected to lynchings – approximately 50 documented cases between 1877 and 1920, including the infamous New Orleans massacre of 1891 where eleven Italian men were killed by a mob. The New York Times editorial response to that lynching reveals the depth of anti-Italian sentiment: “These sneaking and cowardly Sicilians, the descendants of bandits and assassins…are to us a pest without mitigation. Our own rattlesnakes are as good citizens as they”.2

Within this climate of hostility, pizza remained what it had always been – food for the poor and marginalized. Italian immigrants, crowded into urban slums and “Little Italy” neighborhoods, continued making pizza as they had in Naples, both as sustenance and as a connection to their homeland. But pizza’s association with these discriminated communities meant it carried a double stigma: it was both the food of the poor and the food of an undesirable ethnic group.

Over time things changed. In the United States those changes were brought on largely by the Second World War, when Italian Americans demonstrated their patriotism through military service and “mainstream” American servicemen encountered pizza in its homeland, returning with appetites for the dish.

In this changing culinary landscape traditional family pizzerias began to form the foundation of the nascent industry. These small, neighborhood establishments – often identified by their red-and-white checkered tablecloths, a symbol that emerged from Italian American restaurant culture rather than authentic Italian tradition – served as both businesses and community gathering places. Operated by immigrant families who worked grueling hours, these pizzerias provided a pathway to economic stability while preserving cultural identity.

New Haven Green Sunday poker game One of the reasons there was so much good pizza in New Haven was the city’s Italian community. Other US cities such as Chicago, Detroit, Buffalo, Trenton (NJ), Boston, and New York had been magnets for Italian immigration and after WWII those families started outward-facing pizzerias to satiate the newfound American taste for pizza.

The Family Restaurant as Immigrant Vehicle

The small, family-owned pizzeria became a quintessential vehicle for immigrant advancement, offering advantages that few other businesses could provide. Pizza required minimal startup capital, used simple ingredients, and could be learned through family apprenticeship rather than formal training. This business model allowed entire families to work together, with children learning the trade while contributing labor.

These establishments served multiple functions beyond mere commerce. They provided employment for newly arrived relatives, created spaces where Italian was spoken and cultural practices maintained, and generated the capital necessary for families to purchase homes, educate children, and establish themselves in society. The pizza business became a pathway to the success precisely because it built upon skills and traditions immigrants already possessed.

Di Fara Pizza: The Apotheosis of Immigrant Pizza Culture

Di Fara Pizza in Brooklyn represents the perfect embodiment of pizza’s immigrant success story while maintaining its artisanal, working-class character. Domenico DeMarco arrived from the Province of Caserta in 1959 with typical immigrant circumstances – he worked on a Long Island farm before opening his pizzeria in 1965 with partner Franco Farina (whose surname provided the “Fara” in “Di Fara”).

DeMarco’s story exemplifies the immigrant work ethic that built America’s pizza culture. For over 50 years, he worked seven days a week, making each pizza by hand with obsessive attention to detail. He sourced the finest Italian ingredients – San Marzano tomatoes, imported olive oil, fresh basil – creating pies that food critics consistently rated among New York’s best. His dedication was legendary: he rarely took vacations and personally made virtually every pizza sold at Di Fara until well into his seventies.

What makes Di Fara particularly significant is how it bridges pizza’s working-class origins with its elevation to culinary art. DeMarco never abandoned the fundamental character of pizza as accessible, honest food, yet his meticulous craftsmanship attracted celebrities like Leonardo DiCaprio and Anthony Bourdain. The restaurant’s success came not from gentrification or marketing but from unwavering commitment to quality and authenticity.

Di Fara’s never scored a lot of points for “The Restaurant Experience” There was inside “seating” but since this August day was 32c just being able to get a pizza seemed like a victory! Never one to be stopped from selling pies, DeMarco had fans set up near the ovens to cool himself, but it really wasn’t a pizza sort of day.

The Persistent Labels and Continuing Evolution

Despite pizza’s mainstream acceptance, traces of its original stigmas persist in subtle ways. Premium artisanal pizza often emphasizes its “authentic” Italian character, suggesting that standard American pizza remains somehow lesser or inauthentic.

Yet pizza’s success story demonstrates how immigrant foods can break out of their origins while maintaining cultural significance. Today’s pizza landscape includes innovations from subsequent immigrant waves – Indian pizza joints, Lebanese-owned establishments, Mexican-influenced toppings – showing how the model pioneered by Italian immigrants continues serving new generations of fledgling ethnic entrepreneurs.

It’s a long way from Naples to Brooklyn, however, and pizza’s journey reflects the broader immigrant experience – the struggle against prejudice, the gradual building of acceptance, and the transformation of survival strategies into success stories. While pizza may have somewhat shed its reputation as poor people’s food, its institutional memory remains embedded in the thousands of family pizzerias that dot the North American landscape, many representing individual family stories, served up one slice at a time.


1: The Canadian government did not actively encourage Italian immigration during this period, as they were considered “ill-suited to the pioneering lifestyle” and were not the preferred northern European farmers sought to settle the prairies. Instead, most Italian immigrants found work as seasonal laborers on railways and in mining and construction industries.
2: March 15, 1891 New York Times. I can’t link directly to the NYT but here’s a related article.

Posted in Pizza
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Two City Parks | Montreal Unfiltered

Summer evening softball in Parc Lafontaine

I’ve lived on the edge of two parks in Montreal. The first was an established historic park known for its beauty (Parc Lafontaine), and the second a recently constructed city park (Parc Saidye-Bronfman) where we live now in an “up and coming” neighborhood, the “Triangle” section of Côte-des-neiges. Soon after we moved in we invited a friend from our first neighborhood over and looking out she exhaled “¿That’s a park?!?!!??”.

She’s actually a very kind person, it was just a momentary slip.

Trucks waiting to be loaded with fill from excavation of a new apartment building. Part of Parc Saidye-Bronfman is visible on the left.

She had a point. It’s not much of a park right now, and it may never be. There’s a difference between a park that inhabits a large parcel of land and evolves over decades, weaving its way into people’s lives, and one that’s a relatively soulless small pocket park, put in because developers are required to tick a box called “green spaces”. The whole thing comes off as if no one really has their heart in it.

Parc Saidye-Bronfman

The history of our present park runs something like this: it was envisioned as being twice its current size (which would still have been small), but somewhere along the way its boundaries got whittled down. It was also planned to showcase the use of indigenous plants, but that too is falling short as the messy natives are uprooted and replaced by fabric cloth and the standard city plantings. It’s a bit like after the check-box we’re moving on.

Beth, who blogs occasionaly about the city with an invariably philosophical and generous eye, goes down when she spots the city gardeners. They hem and haw, in the end sighing and saying they’re just doing what they are ordered to do (and “could she write a letter….”) But I wonder what the real story is, and what it is we will probably never know.

What I do know is that humans need places where they can exhale a little, and it’s in parks where the air tastes a little greener and the asphalt recedes enough that you can hear your own heartbeat. I do miss Parc Lafontaine where I used to go out for an early morning and walk on damp paths, hearing children chattering on their way to school. It’s too bad that in these new neighborhoods the city more often than not bows to developer’s wishes rather than taking a long step back and acting with a vision that’s more than a future of promised bike paths and trolleys and two-lane roads, which won’t work. Parks matter because cities are not built of steel and ambition alone. We need the quiet space true parks give. We need green sanctuaries where the earth remembers itself, and invites us to remember it too, even if it is a bit messy.

Posted in Parks, Montreal, Montreal Unfiltered
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Untold Stories Behind Joseph Losey’s M Klein: When Art Meets History

This is the lead post for a detailed series exploring the making of Joseph Losey’s M Klein. Each post reveals new layers of this remarkable collaborative achievement – from the personal journeys of its creators to the technical innovations that brought their vision to life, from the political courage required to tell unpopular truths to the artistic strategies that made those truths unforgettable. Jump to Table of Contents

Hoping to catch a glimpse of a star Crowds often gathered hoping to see Alain Delon. Here they were lucky – his driver parked across the street and so he could briefly be seen entering a building.

When Joseph Losey set out to make M Klein in 1975, he wasn’t just directing another film about wartime France – he was orchestrating a deeply personal project that brought together artists and professionals who had lived through the very persecution they were depicting on screen. The behind-the-scenes story of this masterpiece reveals how committed professionals transformed their own trauma into cinematic truth, creating one of cinema’s most powerful explorations of identity and complicity.

When the Persecuted Make Films About Persecution

The most remarkable aspect of M Klein‘s production wasn’t its star power or budget – it was the extraordinary convergence of people whose lives had been shaped by the events they were recreating. Margot Capelier, the Casting Director, was born into a Jewish family in Paris and had lived through the Nazi occupation, losing family members in the Holocaust. Alexandre Trauner, the Art Director, was a Hungarian Jew living in Paris who had fled to southern France to escape the occupation, working clandestinely in the underground resistance. Lucie Lichtig, the Continuity Director, was Jewish and active in the Alliance branch of the Resistance. Finally, Claude Lyon, the head of the film lab (LTC) used by Losey, lost his mother.

▲ Three Vichy fonctionnaires prepared and waiting for a city-wide police planning session for the roundup of Jews. The wall-art often came from personal collections; this mural was only briefly visible in the scene.

Even Joseph Losey himself brought personal understanding of persecution, having been blacklisted from Hollywood during the McCarthy era and forced into European exile. This wasn’t just professional film-making – it was a gathering of survivors using their craft to ensure these stories would never be forgotten.

The Challenges That Created Cinema Magic

M Klein was notorious for its production challenges, but these obstacles also created camaraderie and a feeling of accomplishment. Some of the film’s most memorable moments came out of pure chaos. When rare snow began falling in Paris – the entire crew had to scramble to protect the equipment and the day had to be rescheduled, turning what should have been a routine day into a logistical nightmare. The awful, insect and rodent infested building on 42 rue des Panoyaux, where Klein searches for his Jewish double, was so unstable that the city required engineering work just to make it safe to enter – not that anyone wanted to. Still, getting the work done at that location was another credit to everyone, and contributed to the film.

In Strasbourg, the canal location that had been carefully scouted proved impossible for the planned tracking shots due to rough cobblestone surfaces, forcing the crew to hastily “modify” a Citroën Deux Chevaux with a camera mounted through its sunroof. These weren’t just production problems – they were challenges that the team reacted to – and they elevated the production by requiring creative teamwork to find solutions.

Challenges The camera is mounted on a Citroën Deux Chevaux to compensate for the uneven surface of the cobblestones which have been hastily covered with sand. Losey, back to the camera, has the best angle to see the action, as the cameraman films from his precarious position, wedged in the sunroof of the car.

The Invisible Artisans Who Helped Shape a Masterpiece

Behind every great film are the craftspeople whose contributions often go unrecognized. Reginald Beck, who had edited eighteen of Losey’s films, couldn’t even receive proper screen credit for M Klein due to British union regulations, despite being the actual editor of the film. Gerry Fisher, the cinematographer on his sixth collaboration with Losey, had developed such an intuitive understanding with the director that they barely needed to speak during setups.

Frantz Salieri, the multi-discipline artist who created the film’s pivotal cabaret scene, brought his own radical theatrical background to ensure the anti-Semitic content would be read as critique rather than endorsement – using male actors in female roles to prevent actual racists from finding the performances appealing.

▲ Frantz Salieri in rehearsal. The man in the bowler hat played the awful clown, and members of the “chorus line” are seated on the bench. Salieri worked with members of his own troupe, professional dancers, and actors from the cast to create the cabaret show.

The Art of Turning Constraint into Creativity

The most fascinating aspect of M Klein‘s production was how limitations became opportunities. When star Alain Delon walked off the set in anger on January 20, 1976, threatening the film’s completion, Losey’s professional integrity and honest communication brought him back. When the cramped quarters of La Nouvelle Eve cabaret made filming nearly impossible, the tight spaces actually enhanced the claustrophobic atmosphere the scene required.

The decision to use thirty-two locations throughout Paris, despite production company resistance about costs and complexity, gave the film a level of authenticity that studio work could never achieve. Each challenge became part of the film’s DNA, contributing to its lasting power and relevance. They were intangibles that were created through Losey’s intransigence, and they made a big difference.

▲ First Assistant Director Philippe Monnier coaching French “gendarmes” in an early-morning recreation Vel’ d’Hive Roundup, which happened in the middle of July, 1942. The scene also involved many cars and police wagons from the period. The Roundup was ordered by the German Nazis, but carried out by the French.

Why These Stories Matter

The making of M Klein reveals something profound about the relationship between art and history. This wasn’t just a film about the Holocaust – it was created by people who had lived through persecution, who understood from experience what it meant to be suddenly classified as “other,” to have your identity questioned, to become a stranger in your own country.

Every aspect of the production – from Margot Capelier’s casting choices informed by her own survival, to Alexandre Trauner’s intimate knowledge of wartime Paris, to Losey’s understanding of what it meant to be politically exiled – was shaped by lived experience of the themes the film explored.

The complete story of M Klein‘s creation offers a masterclass in how artists can transform personal trauma into universal truth, how technical challenges can become creative opportunities, and how the most powerful cinema often emerges from the most difficult circumstances.

Links to all the posts in this series

1. Joseph Losey: The Blacklisted American Director Who Found Redemption in European Cinema
2. Alexandre Trauner and Joseph Losey: Crafting the World of M Klein
3. Reginald Beck: Invisible Artisan of Cinema
4. The Artful Eye: Gerry Fisher’s Cinematographic Journey
5. Laughter in the shadows: The chilling cabaret scene of M Klein
6. Homage to Margot Capelier, Casting Director for M Klein
7. Exploring location shooting in Joseph Losey’s M Klein
8. Joseph Losey’s film M Klein: A behind-the-scenes look
▲ Pierre-William Glenn, the strong, athletic camera operator was the person actually behind the camera, directed by Gerry Fisher, the cinematographer.

Some other sources about Joseph Losey

Barthel, Joan. “I’m an American, for God’s Sake!” New York Times  (1923-), March 26, 1967. ProQuest Historical Newspapers: The New York Times.

Caute, David. Joseph Losey: A Revenge on Life. New York: Oxford University Press, 1994.

Film Director Joseph Losey and Playwright Harold Pinter Discuss “Accident”, 1967, 2024. https://www.youtube.com/watch?v=hhQQ-wBSQkI.

Joseph Losey : Je n’irai Pas En Angleterre, 2012. https://www.youtube.com/watch?v=gTLxYCVUfSU.

Joseph Losey Tribute, 2018. https://www.youtube.com/watch?v=IMNxtkGpWtc.

Losey, Joseph. Conversations with Losey. Edited by Michel Ciment. London ; New York: Methuen, 1985.

Posted in Joseph Losey, Europe, Paris
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Return to Damascus is my new book of photographs, available for order, that preserves fleeting impressions and the spirit of a place through the lens. Accompanied by brief reflections and memories, the photographs offer a tribute to the place and its people, focusing on enduring character and the subtle interplay of light, architecture, and tradition. Return to Damascus is a quiet celebration of observation and memory, inviting viewers to participate.

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How Many Roads? is a book of photographs by Jonathan Sa'adah, available for order, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer.
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