A Need-to-Know Basis: History of the Cannes Film Festival
Fascist Roots
It can be said that the Cannes Film Festival was borne from the displeasure of French film enthusiasts in the 1930’s with the first film festival, the Venice Film Festival. Back then, the film festival was not a circuit, but one event which was as much about nationalistic pride as it was about the films and their quality. It was evident that there would be underlying issues when the festival in Venice was favoring those entries from Germany and Italy and other members of the fascist alliance.
This all came to a head when a French film, “Le Grande Illusion,” by Jean Renoir, was not awarded the festival’s top prize despite being seen as the favorite of many of the festival attendees and the jury members. Enraged by this slighting, the French filmmakers decided to withdraw from the festival. Both American and British jurymembers followed suit, also in disapproval of the apparent superiority of politics and ideology over the art aspect of filmmaking.
The problem now was getting another festival. Later on that very same year, a group of filmmakers and others closely attatched to the industry began to talk to the French government in hopes of getting them to approve government funding to start another festival. Most importantly, they were searching for a forum whether they could bring their films and compete without the political biases in Venice. The idea was initially not well received because the French government was wary about creating conflic with the Italians and the Germans. The French Government would eventually give them the okay to proceed with the new event.
Although there were a number of locations that were initially considered for the festival, they decided on holding it in Cannes because of the beautiful scenery and weather and the fact that the town itself was offering to construct a venue for the event that would be new and equipped with the latest technology available in that time. So on September 1, 1939, they decided to begin the first Festival International du Film. However, the first festival barely got through it’s opening night before being cancelled because of the impending threats of war in Europe.
More Attempts Post-War
After World War II, the French organizers decided to have another go at the festival and kicked off hte second fesitval on September 20, 1946. Louis Lumiere, the Frenchman who was partly responsible for the invention of cinema itself, was named the first festival jury president. Although they were considered a new event, most people declared the festival a successful endeavor and it would be brought back in 1947. It’s direct control would be transferred to the newly-formed Centre National de la Cinematographie (known as the CNC.) The CNC was a governemnt-controlled entity that was responsible for the support and promotion of films in France and around the world. They would make the early attempts at the festival to be more like a forum to showcase films rather than a competition.
Although that second festival was also considered to be marginally successful, the festival would see itself be shut down because of monetary problems in two of next three years. However, the 1949 festival was able to go through as planned and even secured having a top-notch lineup. This would also mark the opening of the venue that the township of Cannes had promised to the festival. This would begin a period of growth and expansion in the festival and cement its place as an authority in the film festival world.
A big step in the continued improvement of the event was the shifting of the festival from out towards the end of summer in September to April. They would do this for a number of reasons, but most importantly because the competing festivals were being held earlier in the year and they were taking the opportunity from Cannes to have some of the best films come to the festival and to have more world premieres come to the venue in Cannes. Another key factor was that having the festival in September was bad for attendance because it was the end of the vacation and the summer seasons and normally this would be the time when the tourists are heading back. This move translated into instant success as the festivals between 1951 and 1953 would attract some awesome films and some needed credibility to the festival.
They would continue to lay the foundation to the title of “King of Festivals” as the 50’s continue. In 1954, two key events that would shape the festival occurred. The first was a simple addition to the award trophies. A jeweler from Paris, Suzanne Lazon, thought that the addition of a motif on the trophy in the shape of the town’s signature palm leafs. The first concept drawing was brought forth by French legend Jean Cocteau. This idea worked, and the next year the top prize would be considered the Palme d’Or.
The other revelation was something more of today’s standards. Whether or not this development led to our eventual attitude towards sex in the movies is debatable. But no one can deny that the lasting image of French starlet Simone Sylva exposing her breasts to the cameras around the beach. This would start a dubious tradition around the beaches of Cannes for the festival that still follows it today.
Cannes had begun as more of a party, with people more concerned with attending the event to get into one of the famed parties or celebrations that littered the small French town. It was a socialite’s dream to be seen or, better yet, photographed, at a party and have it known that they were in the biggest party of the year. But later on, as the festival continued to grow, it became more of a legitimate avenue for industry heads and international film personalities. Not only to watch the movies, but it would become more of a meeting place, bringing people together to discuss business deals and films in a semi-relaxed environment.
Changes in the 60’s and 70’s
The industry began more shifts as many countries began to have changes within their government structures. Consequently, Cannes begun to see the same kinds of changes. It was definitely beginning to find its place within the film world. They would change and add another part to the festival. Because of the policy of the festival to invite filmmakers who have been featured back to the festival, many newer filmmakers could not get their films into the festival.
Some would have believed that the hard times had gone away from the festival, but they would have another scandal that the festival would have to endure. The Cultural Minster of France, Andre Malraux, made an attempt to fire a very popular member of the Cinemateque Francaise and co-founder, Henri Langois. This caused quite a stir, as many of the people who were involved in the festival were upset over this firing. The protests that came out from this event led to the eventual cancellation of the 1968 edition of the festival. This would actually cause a backlash as well, as some other French filmmakers were upset of the political stance that some of those very people who had fought in 1968 had taken.
Early in the 70’s there was another key change in the festival. Early on, films were chosen for the festival by an appointed group of representatives from different countries. However, in 1972 they decided to make the selection about the films that would participate upto the people involved with the festival. Most festivals today follow that format in choosing their participants.
The 70’s also ushered in the new era of the “golden boy” directors. Spielberg, Scorsese, Altman, and Coppola led the new generation into the film world and they would have their strong efforts taking part in the festival. This was the American answer to the French having come forward with their New Wave in the previous decade. Movies like “M.A.S.H.” and “Taxi Driver” were the talk of the festival in the 70’s. They didn’t dominate the news by themselves, as international filmmakers also began to assert themselves in this decade.
Outgrowing Cannes and the Independent Phase
In the 1980’s it became apparent that the festival was growing too big for the town of Cannes. They had been outgrowing their home in Cannes and the Palais Croisette. The city, fearful of losing their festival, approved the construction of a new home in the lot of an old casino. Finally completed in 1982, the new venue saw it’s debut in the 1983 version of the festival. In a ceremony to celebrate the opening of the new venue, the festival commission brought back some past stars and had them leave their handprints outside the building.
Late in the 80’s and continuing into the 90’s, a run of independent films began to make their way into the festival and once again change the landscape of the films to participate. Cannes would also celebrate their 50th anniversary in 1997 by inviting past winners to come back and celebrate alongside the town of Cannes. This trend of independent films would carry on today, as many of the films represented in the festival today are of those independent variety.
Today, Cannes is one of the most recognizable destinations in the film industry. It’s also transcended the importance in film alone and has grown into one of the biggest media events in the world. People come from all over the world to participate, screen, and stargaze as films take their place in the festival. More than 1,500 films are submitted yearly for consideration for the event, but it is very limited indeed. Far and wide, people come… and Cannes has obliged them all.
