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In the weeks after the Germans captured Paris, theaters, opera houses, and nightclubs reopened to occupiers and French citizens alike, and they remained open for the duration of the war. Alan Riding introduces a pageant of twentieth-century artists who lived and worked under the Nazis and explores the decisions each made about whether to stay or flee, collaborate or resist.
We see Maurice Chevalier and Edith Piaf singing before French and German audiences; Picasso painting and occasionally selling his work from his Left Bank apartment; and Marcel Carné and Henri-Georges Clouzot, among others, directing movies in Paris studios (more than two hundred were produced during this time). We see that pro-Fascist writers such as Louis-Ferdinand Céline and Robert Brasillach flourished, but also that Camus's The Stranger was published and Sartre's play No Exit was first performed—-ten days before the Normandy landings.
Based on exhaustive research and...
Thirty years ago, while reporting on Latin America…Alan Riding began wondering how artists and writers responded to brutal dictatorships. He then went to live in Paris and realized that not so long before, the French intellectual and cultural elite had provided an answer, in often unlovely ways. And the Show Went On describes this history in gripping and painful detail…We'll always have Paris, but we may not feel quite the same about it after reading…[Riding's] enthralling and disturbing book…
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