The Crimes of Paris

by Dorothy Hoobler; Thomas Hoobler

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  Many came to Paris because of the city’s bohemian neighborhoods, where artists and writers congregated to be on the cutting edge. Though Paris was a rich city, it was possible to live quite cheaply, if one could endure hardship. In 1891, Maria Sklodowska (who would later become the wife and scientific partner of Pierre Curie) arrived in Paris from her native Poland, then under Russian control, to study at the Sorbonne. “The room I lived in,” she recalled, “was… very cold in winter, for it was insufficiently heated by a small stove which often lacked coal. During a particularly rigorous winter, it was not unusual for the water to freeze in the basin in the night; to be able to sleep I was obliged to pile all my clothes on the bedcovers. In the same room I prepared my meals with the aid of an alcohol lamp and a few kitchen utensils. These meals were often reduced to bread with a cup of chocolate, eggs or fruit. I had no help in housekeeping and I myself carried the little coal I used up the six flights.” 6

  Another of the city’s residents was Guillaume Apollinaire, who was to become the great friend and publicizer of Picasso. Born out of wedlock in 1880 to a Polish woman in Rome (he himself spread stories that his father was a cardinal or perhaps even a pope), he formally bore an impressive collection of names: Guillaume Albert Wladimir Alexandre Apollinaire de Kostrowitsky. Along with a younger brother, he and his mother lived for a time in Monte Carlo, Cannes, Nice, and several other French cities, giving Guillaume a cosmopolitan air that would serve him well — although he recalled they frequently had to sneak out of hotels in the middle of the night when they could not pay the bill. Though Apollinaire was too poor to take the required courses for a university degree, he was able to find a job as a tutor with a wealthy family. A sojourn in Germany and then an unrequited passion for a young Englishwoman inspired him to begin writing poems. He settled in Paris, living in his mother’s house in the suburb of Le Vésinet but spending his time in Montmartre, like so many other aspiring artists. Working as a bank clerk, he contributed poems and articles to small literary journals and even edited one himself. He also wrote two elegant pornographic novels, which brought an offer from a publisher to edit and write introductions to a series of classic erotic works. Carrying all this off with aplomb and dignity, Guillaume soon became a familiar figure in the cafés of Montmartre.

  Another arrival who had invented her own identity in Paris was Gabrielle Chanel, later known to the world as Coco. Born in a poorhouse in the town of Saumur on the Loire River, she spent her teen years in an orphanage after her mother died and her father deserted his children. Chanel devoured romance novels, whose plots she later incorporated into her own life story. After she became a famous couturier, a friend suggested that psychotherapy might help her to be more honest about her humble origins. Chanel replied with a laugh, “I — who never told the truth to my priest?” 7 Like many who came to Paris, her life was a work of art, a blend of fact and fiction, assembled as she chose.

  Not everyone found immediate success. Marcel Proust, the son of a doctor, spent hours on the bed of his cork-lined room on the second floor of 102, boulevard Haussmann, writing the mammoth six-part novel À la recherche du temps perdu, which many regard as the greatest French literary work of the twentieth century. In 1911, however, when he sent the first part of the book to a publisher, the editor emphatically rejected it, saying, “I may be dense but I cannot understand how a man can use up thirty pages to describe the way he turns over and moves about in bed before falling asleep. It makes me want to scream.” 8 Proust later sent his work to André Gide, an editor of the Nouvelle Revue Française who would himself become famous as a writer. Gide, like Proust, was a homosexual and feared a public outcry over the frank depictions of sexuality in Proust’s novel, which he rejected as “the worst thing possible for our magazine.” 9 Proust was doing in literature what Picasso would do in painting: creating a world from the images inside his head, just as the narrator of his novel relates. But he had to publish the first volume of his long work at his own expense.

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  Proust may have consoled himself at one of the homosexual brothels that he frequented. (He even made money investing in one.) By the dawn of the twentieth century, Paris was a center for sex tourism. In the 1890s there were thirty strip shows in Paris. A critic described Mlle. Cavelli, the star attraction at one of them, the Alcazar d’Été, “doffing her hat, her dress, her petticoats, her corset, her pretty white and pink underwear, with a decent interval between each stage of her undressing to allow the spectators to recover their sang-froid.” 10 Fully nude dancers were not hard to find. The city’s most famous bordello had been opened in time for the Paris Exposition of 1878; a favorite of the Prince of Wales, it had a special bathtub designed to hold his girth and reserved for him exclusively. A visitor at the time wrote, “The salons are sumptuous, each one represents a cabin in a pleasure yacht, and with elegant bathrooms. Visitors are received in a magnificent hall modeled from a courtyard of the Spanish Alhambra and are given an illustrated booklet of views of the best apartments in the eight-storied house. Every flat is divided into numerous rooms, neatly furnished in Louis XV style.” 11

  Paris offered many pleasures even for those who were not royalty. The city’s nightlife centered in the two well-known bohemian sections on either side of the Seine: Montmartre and Montparnasse. Montmartre, on the Right Bank, kept its rural charm well into the twentieth century. The highest point in Paris, it still contained vineyards and windmills and the narrow, winding streets that were characteristic of all Paris before Haussmann’s renovations. Its cabarets and cafés attracted bohemians and working-class people alike; moreover, it was known as the haunt of criminal gangs. Aristocrats seeking adventure liked to go slumming there.

  Rodolphe Solis, an artist and mathematician, boasted: “God created the world, Napoleon founded the Legion of Honor, and I invented Montmartre.” 12 Solis opened Le Chat Noir in 1881; it was a cabaret that would forever influence entertainment in Paris. The waiters were dressed like members of the prestigious Académie française, with the headwaiter wearing the colorful uniform of the papal Swiss guards. The interior was decorated in the style of Louis XIII, with ornate, voluptuous lines and colors. Its entertainment ranged from ombres chinoises (Chinese shadow puppets) to barbed political humor and songs that commented on follies and scandals in the news. Avant-garde composer Erik Satie often accompanied singers on the piano, and another composer, Claude Debussy, was a regular patron. Stand-up comedians told dirty jokes and threw insults at members of the audience, bringing roars of approval. One performer whose act was so vulgar as to be beyond taste was Pétomane, the world’s greatest farter, whose poster proudly proclaimed: “the only performer who doesn’t pay composers’ royalties.” 13 Though Le Chat Noir had closed in 1897, its spirit and influence lived on through the Belle Époque, inspiring other entertainment venues throughout Montmartre.

  Another option was the café-concert, a kind of music hall or nightclub. A contemporary described the raucous atmosphere:

  In all of these halls, singing, dancing, and often shameless dramatic performances are given these days in front of princes, wealthy loafers, fashionable ladies, and those who act as if they were. This type of entertainment… manifests above all, a desire for uninhibitedness, spectacle, and debasement that is peculiar to our times. However low the [more formal type of] theater may have sunk, however little it demands from its audience in terms of behavior and intellectual effort, it still makes certain demands. One may not smoke or keep one’s hat on there; moreover, one has to understand the play, or at least seem to understand it, and even the actors do not say or mime everything. In the café-concert, on the other hand, there are none of these limits! One smokes, drinks, comes and goes as one pleases, while watching highly suggestive acts and listening to incredibly risqué jokes. The café-concert is the paradise of libertinism and the more determined bad taste. On top of this the prices are low and the incitement of all the senses is practically free. For a few sous one gets
everything that refreshes as well as excites. How then could one avoid coming here to still, or seem to still, the freely admitted or secret desire for dissolute excess that currently plagues the peuple as much as good society? 14

  Montmartre became well known as a place where people went to abandon their inhibitions. At Le Rat Mort in place Pigalle, for example, women dressed in men’s clothing and danced with one another. Guides to the city, such as one written in 1913 by the English man Frankfort Sommerville, raved about the area Parisians nicknamed the Butte. “Montmartre,” he declared, “is the dwelling-place of the most curious collection of poets, painters, sculptors, bar-keepers, vagabonds, girls of the street, models, apaches, scoundrels in the world — the most gifted and the most degraded (and there is not always a very sharp line dividing them). Montmartre is just as remarkable a mixture of gaiety, strenuous work, poetry and mockery, artistic sense and irreligion.” 15

  To outsiders, perhaps the best-known spot in Montmartre was the Moulin Rouge, which opened in October 1889 to take advantage of the Paris World’s Fair of that year. Its moving windmill sails (and later, flashing electric lights) served as a beacon to attract visitors to its shows — revues and popular musical plays as well as dance routines. (One observer commented that the cabaret’s “sails never ground anything but the customers’ money.” 16 ) The Moulin Rouge was renowned for its professional female dancers performing the then-risqué cancan, and the first time Picasso visited Paris, he went there, as did many other tourists. Posters and paintings of the entertainers by the artist Henri de Toulouse-Lautrec added to the international fame of the cabaret. The chanteuse Yvette Guilbert charmed the audience with her sophisticated and touching songs, in which she invoked the pathos of lower-class suffering.

  The cabaret scene in Montmartre provided entertainment for every taste, even the tantalizingly perverse. Picasso’s companion Carles Casagemas wrote home that his favorite haunts were the next-door-neighbor cabarets named Ciel (Heaven) and Infer (Hell) — and a third named Néant, or Nothingness. At the Cabaret du Ciel, patrons entered gates lit by blue-tinted electric lights, with the action starting at 11:00 P.M. Inside, the ceiling was painted blue, with stars and clouds; paintings of saints and angels lined the corridors. Another visitor described his experiences here around 1910:

  The head waiter greets visitors with a blasphemous welcome that need not be set down.… Suddenly from among the clouds at the end of the room St. Peter appears, keys at girdle, a mysterious vessel in one hand; he sprinkles the nearest devotees with his imitation of holy water and disappears. The waiters now assemble before a shrine at the end of the room, on which a gilt pig sits enshrined. They light candles and perform genuflections. From the pulpit at the other side of the café a man dressed as a preacher delivers an unprintable discourse. Then after a procession of Angel garçons the assembled guests, being duly sanctified, file out of the “Home of the Angels,” St. Peter himself being in the passage to give out tickets.… You pass out to the street, meeting Father Time at the exit with his hourglass turned up to receive the contributions of those who wish to enjoy a long life.

  In the Cabaret du Néant you can see a body put into a coffin and turn into a skeleton before your eyes, and return again to healthy life. You are attended by mutes, and the drinks supplied are called by the names of various hideous diseases. Outside the Cabaret of Hell you are greeted by a red devil with horns and trident, who bids you enter and be d——d, for Satan is calling for you. And if you care to go inside, Satan will be heard delivering a discourse, strange medley of morality and blasphemy. 17

  Cafés and cabarets also dotted Montparnasse, on the other bank of the Seine. Especially popular was La Closerie des Lilas, 18 a café on the boulevard Montparnasse, adjacent to the Latin Quarter, where many students from the University of Paris lived. Vladimir Lenin, then an exile from Russia, lived in Paris from 1901 to 1912. And though he much preferred London as a city (he described Paris as a “foul hole”), he did have drinks sometimes at the Closerie des Lilas. 19 Across the street was Bal Bullier, which held a weekly grande fête for students, artists, and workers, who danced in its backyard gardens under colored lights. In the spring, costumed art students paraded in the Bal Bullier. One who did so remembered “students and artists, handsome and merry in their stunning velvet suits and floppy slouch hats, and with their girls, some in their cycling bloomers, others in silk robes, and still others in summer blouses.” 20 The Café Dôme’s proprietors welcomed visitors and new arrivals, and it became a gathering place for foreign artists. The Cabaret de la Rotonde, which opened around 1911, was called “the navel of the world” at the height of its popularity. 21 It attracted such Russian revolutionaries as Lenin, Leon Trotsky, and Anatoly Lunacharsky and was the favorite café of the Italian artist Amedeo Modigliani. Also to be found there were the Mexican painter Diego Rivera and the Russian artists Marc Chagall and Chaim Soutine.

  Gino Severini, an Italian, arrived in Paris in October 1906. A friend of Picasso and Apollinaire, he was to become a leader of the Italian futurists, who pursued their own kind of modernism and sought to incorporate speed, energy, and force into their works. “Few have ever arrived in an unfamiliar city as penniless and hopeless as I was,” he wrote. “I had no friends, no money (barring 50 francs I counted in my pocket that evening), only a scant knowledge of French.… I arrived at the Gare de Lyon in a lighthearted, ebullient frame of mind. I took the white tram… went straight to Montparnasse, and ordered my first café-au-lait at a little bar on the corner of boulevard Montparnasse and boulevard Raspail. The bar was called La Rotonde and years later would become a famous meeting place for modern artists.… Having arrived at six in the morning, by nine I was settled in, and could wander out to the boulevard Raspail, where a new building was going up in a wonderfully chaotic construction site that I could start to draw.” 22 Paris, with its unmatched atmosphere of intellectual and artistic ideas, was a place where Severini, like others, could thrive.

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  Paris at the turn of the century was the epicenter of modernism — the new artistic, social, cultural, and scientific revolution that was changing the way people looked at the world. Rapid change was to be an essential part of modern life. Technological advances, including automobiles, telephones, airplanes, electric streetcars, and urban railways such as Paris’s Métro, were radically increasing the speed at which products and information could be exchanged. The dense urban concentration of populations made retail establishments like department stores possible and gave rise to a new consumerism. Population density also fostered crime, for human relationships became increasingly random and impersonal and the gaps between the haves and the have-nots became more conspicuous. Meanwhile, Freudian psychology, physical studies of the human brain, and the experiments of French psychologists such as Jean Charcot were providing new theories of human behavior and motivation.

  Above all, modern life was marked by speed. As the poet Octave Mirbeau said of the streetcar, “Life everywhere rushes headlong.” 23 Nothing captured the imagination of people like the automobile. Between 1890 and 1904, France led the world in the production of motor cars, and in 1900 the wait could be as long as twenty-two months for delivery. Before the days of the assembly line, each coach was custom-built to each owner’s specifications, and the height could vary along with the fashions in ladies’ hats. The renowned grande horizontale (courtesan) known as La Belle Otéro had an automobile that was so high and narrow that it could overturn if rounding a curve too fast. Race car drivers became celebrities, and before World War I, some automobiles reached the phenomenal speed of eighty miles per hour. Even at lower velocities, however, an automobile made the world seem different. Mirbeau observed that riding in a car “put things into a new relief, giving me an impression that objects and persons were not just static but intensely active.” 24 The poet strained to express the feelings that his automobile gave him: “I can contemplate without a tremor the dispersion of my books, my pictures, and all my collec
tion, but I cannot bear the thought that a day may come when I shall no longer possess my magic charger, this fabulous unicorn that bears me so gently and swiftly, with a clearer and a keener brain, across the whole map of nature’s beauties, the richness and diversity of the human scene.” 25

  Even more thrilling than the automobile, though not so widely available, was the airplane. The realization of the dream of flight, one of the many obsessions that Leonardo had filled his notebooks with, was seen as a manifestation of the great power of modern science. At the 1900 Paris Exposition, Alberto Santos-Dumont, the son of a Brazilian coffee king, made ascents in his bicycle-powered balloon, using the handlebars to steer. By 1906, Santos-Dumont had constructed a biplane, which he flew a distance of 60 meters, the first powered flight in Europe. This set off a competition to build better engines and planes and increase the time in the air. In 1908, Léon Delagrange, a sculptor, flew a plane 854 meters, the first flight to be filmed.

  The great hero of early flight in France was Louis Blériot. The survivor of many crashes, he was determined to win the prize of one thousand pounds offered by the London Daily Mail for the first person to fly across the English Channel. At 4:35 A.M. on July 25, 1909, hobbling on crutches from an earlier accident, Blériot set off in his monoplane, a cratelike machine called the X1. He headed out to sea and soon faced head-on squalls. He pressed forward, though he could not swim and had only a small supply of water. The plane responded and eventually he landed at Dover Castle. The crossing had taken just thirty-seven minutes. When British soldiers ran up to congratulate Blériot, he responded, “Be good enough to hand me my crutches.” 26 An hour later he was joined by his wife, who had arrived by boat. Blériot received a hero’s welcome on his return and was awarded the Légion d’honneur. His achievement was a source of pride to the French, who by 1911 had more than three times as many pilots as Germany and Britain combined. 27