Born in Paris on August 18, 1909 French film director.
His family had no relation to the world of the spectacle. He/She began helping his father, who was a cabinetmaker. His mother had died prematurely and, as a result, the women in his family had occupied their education in childhood. Young began working for an insurance company, and at the same time in the evenings was paid studies in photography at the school of Arts and crafts in Paris, where fans come to the cinema.
It was thanks to the wife of Jacques Feyder, actress Françoise Rosay, protagonist of La Kermesse Heroica, so entered in the movies and began his professional career as an Assistant of the own Feyder and photographer George Périnal at the new Lords (1927). He/She also alternated this activity with the film critic in magazines such as Cinemagazine, Cinémonde, Hebdofilm or Film Sonore.
His first performance as a director occurred in the field of the short film, where thanks to his own money filmed small parts as Nogen, Eldorado du dimanche (1929). This activity made him ending up as Assistant to one of the most famous directors of French cinema, René Clair.
His first feature film was Jenny (1936), where he/she received the collaboration as screenwriter of the writer Jacques Prévert, which will begin a fruitful relationship. The female protagonist was Françoise Rosay, who had helped him in the start up project. A year later he/she directed a singular drama (1937), which began its era of success. In this film actor Jean Gabinparticipated, and with her meat became one of the main directors of French cinema. Enrollee was initially called "poetic realism" movement (as indicated by several authors have more of the former than of the latter), to which other directors were also assigned as, for example, Julian Duvivier.
It will reach a significant notoriety with the film the wharf of the mists (1938), a work that maintains an ideological connection with the Popular Front movement and showing the atmosphere of anxiety that hung over Europe as a consequence of the political advancement of Nazism. However, two titles stand out above all others as the real master pieces of French cinema of those years. It is, firstly, of Les visiteurs du soir (1942), a work made in France under the control of the Vichy Government, although impregnated, according to many, anti-Nazi sense. It's a visually splendid tape. In it the devil visit a castle at night, in an attempt to get the true love, which is impossible for him; However, the French spectators interpreted it as an attempt to manifest the spirit of resistance against the occupation. Second noteworthy children of Paradise (1945), for the majority of critics his masterpiece. It's a fable about love and death, good and evil. Set in the year 1840, its visual force and the ability to synthesize the relations between life and theater have made it the most current work of meat and continue maintaining today for the contemporary audience. The own meat said that children of paradise was a tribute to the world of theatre. It seems that the idea of the script came up with the famous theatre actor - to a lesser extent film - Jean Louis Barrault. During the second year of the occupation, meat and his screenwriter Prevert worked busily on this project; Barrault suggested to make a film that will address Baptiste Duberau, one of the most famous French mimes of the theatre where he/she had worked and that add, moreover, the crimes that had been committed in the Temple Boulevard Street that came to be famous for this tragic circumstance. The idea had received, the director and the screenwriter added the figure of a famous criminal called Lacenaire. The idea resulted from more happy, and you had to add support the artistic director Alexandre Trauner and composer Joseph Cosma contributed. The own Barrault played the character of MIME. For its part, the most important female character in the development of the facts was played by Arletty. The film took three years to complete, and was one of the more expensive tapes that had rolled in France up to that time.
With the end of the second world war, meat had political problems; suspicion of Collaborationism, had faced a Tribunal of purification. Although it was not finally blamed for nothing, the circumstances changed in a decisive way for it. Many of its regular contributors were gone and it was someone under suspicion. His talent and ability to work is allowed in these circumstances.
Nevertheless, during the years fifty will get still some films of some importance. Are, for example, La Marie du port (1950), tape of intrigue George Simenon, or Teresa Raquin (1953), text-based on the novel by Emilio Zola, who has always been a very attractive title for filmmakers. The script was another very linked to the film writer, as it was the case with Charles Spaak, whose brother, Paul Henri, became Prime Minister of Belgium; her nieces, Catherine and Agnes, were relatively important actresses during the 1960s. In 1954, he/she worked again with Jean Gabin in a boxing history entitled the Paris air.
From this date the career of meat came into decline. Some titles were poorly received by critics and only include three rooms in Manhattan (1965), also about a novel by Simenon. His last speech as a director was in the film La merveilleuse visit (1974).
Now retired, he/she wrote an interesting memoir titled La vie to belles dents, in the mid-1980s, in which reflected their views and let show through her bitterness. Marcel Carné has been, without doubt, one of the most important directors of French cinema who the circumstances of war and politics not allowed round off his career in the way that had initiated it and also prevented him from, perhaps, to make a greater number of films. Still it is compulsory mention in any history of the cinema by its sensitivity, storytelling and atmosphere, as well as its ability to tell stories with a camera.
1929: Nogent, Eldorado du Dimanche.1975: La Bible (documentary; and co-writer).
1936: Jenny. 1937: A singular drama. 1938: The mist dock; Hotel du Nord.1939: Le jour is slight. 1942: Les visiteurs du soir.
As director and co-writer:
1943: Les enfants du paradis (and coargumento). 1946: portes Les de la. 1950: La Marie du port. 1951: Juliette ou la Clé des songes. 1953: Teresa Raquin.1954: Paris air. 1956: The seller of happiness. 1958: Les tricheurs (and coargumento). 1960: Terrain vague. 1963: Du mouron pour les petites oiseaux. 1965: Three rooms in Manhattan. 1968: Les jeunes loups. 1971: Les assassins de l'ordre. 1973: La merveilleuse visit.
As operator Assistant:
1927: The new Lords. 1929: Cagliostro.
As an Assistant of direction:
1930: Under the roofs of Paris. 1933: The sign of death. 1934: pension Mimosas. 1935: The heroic kermesse.