"When everything was over and he had entered the small graveyard where he now sleeps... Nothing had changed in the public's mind... But, for us, his friends, it was quite a different story. We knew we would never again call at six in the evening to tell him that we were going to come and see him, nor listen to him for hours. We were thinking of all the cheerful evenings, of his warm welcome, of the smile on his face… The painful "never again"... was clenching our hearts and building around him some sort of deep silence...".Bernard de Fallois.
Marcel Pagnol always was surrounded by many friends. His appeal, sense of humor and smartness would seduce everyone.
As early as high school times, he met writer Albert Cohen who remained his loyal friend for life. Marcel used to write love letters for him as Albert did not feel gifted enough for such a composition.
Once in Paris, he joined the playwright society. Marcel Achard, future author of numerous successful plays, was his closest friend, with whom he would meet up again later at the Académie Française institution. Louis Jouvet and Charles Dullin were here to provide financial support at the start of his career.
Marcel Pagnol joyfully rubbed shoulders with Jean Anouilh, Jean Cocteau, Maurice Druon, Maurice Genevoix, André Chanson, André Maurois, Henri Jeanson, Steve Passeur, Jean Dutourd or Joseph Kessel.
He also was in close contact – sometimes tense, other times very friendly – with Jean Giono, many short stories of whom he adapted on screen. He was also fond of visual arts, and his friendship with Dubout or Dignimont lasted their entire life.
But most of his friends were of course related to the film making industry. Among those were, indeed, Raimu and Fernandel, as well as members of his acting company: Robert Vattier, Edouard Delmont, Charles Blavette, Milly Mathis, Raymond Pellegrin, Henri Poupon, who regularly appear in nearly all his movies. There were also his musician friends: Vincent Scotto, who composed soundtracks for many of his films, Arthur Rubinstein, Tony Aubin and Tino Rossi.
His technical collaborators such as film editor Suzanne de Troyes, head cameraman Willy Faktorovitch (inventor of the word “SCHPOUNTZ”), portrait and still cameraman Roger Corbeau who started his career shooting "LE GENDRE DE MONSIEUR POIRIER” (“MR. POIRIER’S SON-IN-LAW”) and pursued a remarkable career working with the greatest film directors.
Marcel Pagnol remained friends for a very long time with Jean Renoir, René Clair, Henri Georges Clouzot, Henri Verneuil (who directed “CARNAVAL” for him).
Producers Roger Richebé, Jean Leduc and Alain Poiré supported him in a friendly way so that he could cut movies according to his wish. But he also had friends in many other circles. Marcel Pagnol’s attachment to Monaco led to a faithful and lifelong relationship with Prince Rainier.
The greatest journalists were regularly populating the main drawing room of his house on Avenue Foch: Pierre Lazareff, Gaston Bonheur or Raymond Castans. Finally, during the shoot of "LES LETTRES DE MON MOULIN" (“LETTERS FROM MY WINDMILL”), he had the opportunity to meet the head of Frigolet abbey, Norbert Calmels, who later became the Order of Prémontrés Senior Abbot in Rome and remained a devoted friend until Pagnol’s last hours of life. Friends played a critical part in Marcel Pagnol’s life. He always proved faithful to them and his generous feelings and kindness never were impugned.