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He wrote his first stage music in 1925 for a play by Calderon, Le Magicien prodigieux, using the Pleyela - he was then hired by Pleyel to record rolls on the Pleyela, a revolutionnary player piano at the time.His company remains on the first line until the Armistice and he stays with his men all the time, except for two short leaves he spends in Nice, in January and April 1940.His letters to his wife reflect a spirit of sacrifice tinged with deep humanism.They married in 1926, with Maurice Ravel as Jaubert’s best man. In 1929, while pursuing his work for the concert hall and the stage, Maurice Jaubert began writing and conducting for cinema.Among his most important collaborations in the following decade, let’s mention Alberto Cavalcanti’s Le Petit Chaperon Rouge, Jacques and Pierre Prévert’s L'Affaire est dans le sac, Jean Vigo’s Zéro de conduite (Zero for Conduct) and L’Atalante, René Clair’s Quatorze Juillet Quatorze Juillet and Le Dernier Milliardaire, Julien Duvivier’s Carnet de bal (Life Dances On) and La Fin du Jour (The End of a Day), Henri Storck’s Belgian documentaries LÎle de Pâques and Regards sur la Belgique ancienne, Marcel Carné’s Drôle de drame, Hôtel du Nord, Quai des brumes (Port of Shadows) and Le Jour se lève (Daybreak).

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