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The extremely good box office made papa Mary wealthy too, but his money hunger caused also the downfall of his son. Abélard bought a small cinema in Ménilmontant and called it Bébé-Cinéma, counting on a franchise by Gaumont to show his son's films. This was the limit for Feuillade, who was already fed up with the pretense of the father's self-promotion as his son's manager and his continuous demands for raises for his son. Besides, Clément was reaching an age where his cuteness as child actor was passing. Already mid-1912 another young kid had been picked up in Belleville, near the studios, and had started as supporting actor to Clément in the film Bébé adopte un petit frère, but replaced him completely in March 1913 (February 1913, according to Francis Lacassin) under the character name of Bout-de-Zan (a name he already wore as Bébé's co-actor). Abélard went to court against Gaumont. The court ruled that the breach of contract was just, but also that Mary was allowed to continue acting as Bébé at Pathé's subsidiary Eclectic Films, and he did so until 1916. Yet, it was no competition for Gaumont's Bout-de-Zan. As Abel mentions, Bout-de-Zan was more plebeian while Bébé was 'au fond' bourgeois as type. Still, in the end Poyen did some 50 films for Gaumont, less than Mary.

As a young man Clément Mary tried professional boxing but acting stuck in his blood, so he took acting lessons with Lucien Guitry and joined stage tours under the name of René Duclos. Harry Baur advised him to focus on Paris, where he acted in the operetta Pour ton Bonheur, and in Les trois valses with Pierre Fresnay and Yvonne Printemps. In 1934 he debuted in French sound cinema with bit parts, e.g. Le Train de 8:47, starring Fernandel. Director Jean-Benoit Lévy convinced him to change his name again, now to René Dary. His role of the anarchist sailor in Le Révolte by Léon Mathot finally put him in the spotlight. Dary then specialized in tough, taciturn sailors who under outside brawling hid true generosity, in films like Nord-Atlantique, Forte Tête, Le Café du port, and À la belle frégate. In 1944 René Dary peaked as the bad boy repented in Carrefour des enfants perdus (Crossroads of the Lost Children) by Léo Joannon. 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The extremely good box office made papa Mary wealthy too, but his money hunger caused also the downfall of his son. Abélard bought a small cinema in Ménilmontant and called it Bébé-Cinéma, counting on a franchise by Gaumont to show his son's films. This was the limit for Feuillade, who was already fed up with the pretense of the father's self-promotion as his son's manager and his continuous demands for raises for his son. Besides, Clément was reaching an age where his cuteness as child actor was passing. Already mid-1912 another young kid had been picked up in Belleville, near the studios, and had started as supporting actor to Clément in the film Bébé adopte un petit frère, but replaced him completely in March 1913 (February 1913, according to Francis Lacassin) under the character name of Bout-de-Zan (a name he already wore as Bébé's co-actor). Abélard went to court against Gaumont. The court ruled that the breach of contract was just, but also that Mary was allowed to continue acting as Bébé at Pathé's subsidiary Eclectic Films, and he did so until 1916. Yet, it was no competition for Gaumont's Bout-de-Zan. As Abel mentions, Bout-de-Zan was more plebeian while Bébé was 'au fond' bourgeois as type. Still, in the end Poyen did some 50 films for Gaumont, less than Mary.

As a young man Clément Mary tried professional boxing but acting stuck in his blood, so he took acting lessons with Lucien Guitry and joined stage tours under the name of René Duclos. Harry Baur advised him to focus on Paris, where he acted in the operetta Pour ton Bonheur, and in Les trois valses with Pierre Fresnay and Yvonne Printemps. In 1934 he debuted in French sound cinema with bit parts, e.g. Le Train de 8:47, starring Fernandel. Director Jean-Benoit Lévy convinced him to change his name again, now to René Dary. His role of the anarchist sailor in Le Révolte by Léon Mathot finally put him in the spotlight. Dary then specialized in tough, taciturn sailors who under outside brawling hid true generosity, in films like Nord-Atlantique, Forte Tête, Le Café du port, and À la belle frégate. In 1944 René Dary peaked as the bad boy repented in Carrefour des enfants perdus (Crossroads of the Lost Children) by Léo Joannon. 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