Much of the popularity of Baker's 1920s stage work appears within an era of postwar French negrophilism, a time often celebrated for its tolerance toward black performers.
The framing of the sequence with its frequent foci upon the shadow in animalistic poses does suggest some of the distressing "primitive" aspects of jazz-era negrophilism. Something important to consider while admitting the feminist connotations of the scene (where a white male gaze literally becomes inflicted upon Zouzou) is how aggressively it also imposes a commentary upon this enactment.
And finally, Gabin's display of "charming ordinariness" appears in what essentially remains a supporting role to Baker's "charming otherness." This position proves less imperialist and, instead, appeals more to the jazz-era negrophilism defining much of Baker's popularity.