Director of French cinema, born on November 20, 1907 in Niort and died on January 12, 1977 in Paris.
Few film directors throughout history have enjoyed so much success of public and critics when they were alive, and both forgotten anything else result in his death. Since the 1970s the figure of Henri-Georges Clouzot has been darkening basically political and ideological, reasons because of its alleged flirtations with the nazi Germany during the occupation of France, and that they play a significant role in that decline factors of artistic quality. Before on the contrary, the film work of Clouzot stands as one of the most evocative of world cinema, mixture of classicism and the avant-garde, and worthy of study than in recent decades they conspicuous by their absence.
His beginnings were changing quite random, since its irruption in the film due to the simple need to find a more or less stable and well-paid job. After studying mathematics and law tried to see his true vocation, which was accomplished the become marino, but could not enter at the Naval school in Brest because of his myopia. In 1928, and after having sought without much enthusiasm the way to integrate into the diplomatic career, he manages to work as journalist in a magazine of film and as private Secretary of the celebrated musician René Dorin, who will end up composing numerous songs lyrics. Just two years later, in full triumphal emergence of sound cinema, Clouzot was signed along with many others from theatrical scene to become scripts adapter and director of dialogues of the double language versions in French that they were made of previous film successes in German or English.
His early directorial debut came in 1931 with the short film Le Terreur des Batignolles, but desire to mount an operetta and a serious illness that led him to be held in a sanatorium for quite some time, kept you away from the realization by the space of a decade. In 1942, taking advantage of French cinema was undergoing a serious crisis as result of the flight of many directors overseas, returned to get behind the camera to film the killer lives in the 21st, a surprising police film whose success contributed to its consolidation as a filmmaker. But Le Corbeau was the film which, for better and for worse, indelibly marked the initial part of his career. Based on a true fact (sending anonymous letters to the inhabitants of a small village and the social upheaval caused by this fact), Clouzot unfurled all his ability to delve into the psychology of the characters, creating a perfect mechanism of intrigue. Magnificent display of cinema of suspense, this film earned him instead that the director found to be away from the profession several years over accusations of collaborationist with the nazi regime of Adolf Hitler.
His return would be through the front door with in self-defence, account of a sordid crime, masterpiece of the cinema of psychological intrigue, in which human behavior are analyzed with magnifying glass. This feature film Clouzot returned to the first line as a director.
Sincere admirer of surrealism, it had the opportunity to write during his time as a journalist, the accolades would be returned to you by personalities of the likes of Luis Buñuel after Manon, history of a love that goes beyond reality to deny death. The chain of great works will be continued with the wages of fear, where described with bitter tones the life journey of three men United in Exchange for a miserable salary by the carriage of a dangerous explosive that threatens their lives. This film launched its name internationally, including the United States, where he spent to be regarded as the French Alfred Hitchcock . In that sense, the demons would come to shore up his reputation as a superbly gifted filmmaker to delve into the depths of human psychology, with the addition of a battery of blows of effect that would create school and are based on the most modern contemporary thriller. In fact, many of their findings have not managed to still be overcome even in recent adaptations of this classic, directed by William Friedkin and starring Sharon Stone and Isabelle Adjani.
In a new twist on murky atmospheres, unsolved crimes and irrationality of the individual that has its explanation in the depths of our psychology, spies had lead to a universe of nonsense where reality integrates with perfect naturalness. While the mystery of Picasso, documentary about the painter from Malaga, supposed respite in the career of Clouzot at the time as a deepening in their line of work in exploring the innermost folds of personality human.
The truth, whose cast was led by Brigitte Bardot, marked the turning point in his career: the times were changing, the youth demanded stories close to their interests and Clouzot was a Director too close to what is considered, without much discretion or knowledge, such as classicism. Despite this, won the Hollywood Oscar for best film in non-English language, as before was he had won countless international awards such as the Festival of Venice, by in self-defence and the Cannes by the wages of fear.
Increasingly away from the profession, he suffered a final blow with L'enfer, unfinished project years later would return to Claude Chabrol with the same title, and where it was intended to reflect to which ends they may lead us pathological diseases such as jealousy. Starting from where Henri-Georges Clouzot started his particular crossing of the desert, as the characters in Manon, in search of a place in posterity.
Cortometrajes.1931: Le Terreur des Batignolles.
Feature films as director, co-writer and dialogue writer: 1933: all for the love (Co-Director and dialogues of the French version); Château de rêve (Co-Director and dialogues of the French version); His Highness the winner (Co-Director and dialogues of the French version). 1942: the killer lives in the 21.1943: Le Corbeau.1947: on legitimate defensa.1949: Manon.1950: Le voyage in Brazil (unfinished); Miquette et sa Mère; Retour à la vie (Co-Director). 1952: the salary of the miedo.1954: the diabolicas.1956: the mystery Picasso.1957: the espias.1960: the verdad.1964: (unfinished) l'enfer. 1967: the prisonniere.
Guionista:1931: Ma Cousine de Varsovie; A night RAID; Je serai seule après minuit; The singer desconocido.1932: the King of hotels; Le Dernier choc; Now or never; It must be casarlos.1933: Caprice de princesse; Château de rêve; Tout pour l'amour. 1934: Itto d'Afrique. 1938: Le Révolte; Principe.1939 education: Le duel; The world temblara.1941: the last of the six; Les Inconnus dans the maison.1955: TKX does not answer.
CHALAIS, François: H. G. Clouzot, Paris, 1950.
PILAR, Philippe: H. G. Clouzot, Paris, 1969.