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Encyclopedia of French Film Directors

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510 • HUBERT, JEAN-LOUP<br />

1962 Lawrence <strong>of</strong> Arabia, David Lean, USA; 1963 55<br />

Days <strong>of</strong> Peking, Nicholas Ray, USA; 1967 Custer <strong>of</strong> the<br />

West / short version: A Good Day for Fighting, Robert<br />

Siodmak, UK / USA; 1968 A Flea in Her Ear / La Puce<br />

à l’Oreille, Jacques Charon, USA / France) but also<br />

worked as a production designer (1953 Act <strong>of</strong> Love /<br />

Un Acte d’Amour, Anatole Litvak, USA / France), associate<br />

producer (1957 The Happy Road / La Route joyeuse;<br />

Gene Kelly, USA / France; 1962 Phaedra / Faidra, Jules<br />

Dassin, USA / Greece), co-screenwriter (1973 Les<br />

Malheurs de la Comtesse, TV, Bernard Defl andre), and<br />

director. He wrote a book about the shooting <strong>of</strong> Land<br />

<strong>of</strong> the Pharaohs: 1977 Hollywood sur Nil (Fayard; reedited<br />

in 2001 and 2008 by Ramsay).<br />

<strong>Film</strong>ography<br />

1964 D’où viens-tu, Johnny? (co-director with Bernard<br />

Paul)<br />

1965 La Fabuleuse Aventure de Marco Polo / Lo scacchiere<br />

di Dio / Le meravigliose avventure di<br />

Marco polo / Marko Polo / UK and USA: Marco<br />

the Magnifi cent, co-director with Denys de La<br />

Patellière; also actor; France / Italy / Yugoslavia<br />

/ Afghanistan; shot in 1963–1964)<br />

Television <strong>Film</strong>ography<br />

1968 Journey to the Unknown (episode “One on a<br />

Desert Island,” UK)<br />

HUBERT, JEAN-LOUP (October 4, 1949, Nantes,<br />

Loire-Atlantique, France–)<br />

A former comic book drawer (he notably collaborated<br />

on Pilote and Fluide Glacial), he turned a director<br />

in 1981. He co-wrote La Gitane (Philippe de Broca,<br />

1986). In 1991, Mary Agnes Donoghue fi lmed an<br />

American remake <strong>of</strong> Le Grand Chemin (Paradise).<br />

<strong>Film</strong>ography<br />

1981 L’Année prochaine, si tout va bien . . . / UK and<br />

USA: Next Year if All Goes Well (also screenwriter,<br />

co-adapter, dialogist)<br />

1984 La Smala (also screenwriter, dialogist)<br />

1987 Le Grand Chemin / USA: The Grand Highway<br />

(also original novel, screenwriter, adapter,<br />

dialogist)<br />

1989 Après la Guerre / Der Krieg ist aus (also screenwriter,<br />

dialogist; France / West Germany)<br />

1991 Contre l’Oubli / Ecrire contre l’Oubli / Against<br />

Oblivion / Lest We Forget (documentary; segment<br />

“Pour Andreas Christodoulou, Grèce”)<br />

La Reine blanche (also screenwriter, dialogist)<br />

1993 A Cause d’elle (also screenwriter, dialogist)<br />

1997 Marthe (also screenwriter, dialogist)<br />

1999 La Cérémonie des Césars (short; also screenwriter)<br />

Duel (short; also screenwriter)<br />

Pulpeuse Fiction (short; also screenwriter)<br />

Une Promesse (short; also screenwriter)<br />

2000 Avec infi niment d’Amour (short; also screenwriter)<br />

2004 3 Petites Filles (also screenwriter, dialogist;<br />

France / Belgium)<br />

HUBINET, JACQUES (1945, France–)<br />

Delegate producer <strong>of</strong> Rendez-vous des Quais (Paul<br />

Carpita, 1955), he managed the association Cinéma<br />

au Soleil, which supported “The Sunny Side <strong>of</strong> the<br />

Docks,” the Marseille’s documentary market.<br />

<strong>Film</strong>ography<br />

1976 Pour quelque Chose de plus (documentary; codirector<br />

with Jean-Claude Bertrand)<br />

HUCHEZ, ALEXANDRE<br />

<strong>Film</strong>ography<br />

2004 Les Aventures extraordinaires de Michel Strog<strong>of</strong>f<br />

(animation; co-director with Bruno René<br />

Huchez)<br />

HUGON, ANDRÉ (Jean Hugon / December 17,<br />

1886, Algiers, Algeria–August 22, 1960, Cannes,<br />

Alpes-Maritimes, France)<br />

A former fi lm journalist for Paris-Midi, Excelsior, and<br />

Le Temps, he launched an illustrated movie magazine,<br />

Cinéma-Théâtre, in 1918. He wrote several novels<br />

before being hired by Pathé as a screenwriter (1912<br />

Rigadin Défenseur de la vertu, Georges Monca). A fi lm<br />

director since 1913, he joined the SPCA (Section<br />

Photographique et Cinématographique des Armées,<br />

the cinematographic and photographic section <strong>of</strong> the<br />

army) in 1916. He produced most <strong>of</strong> his fi lms and<br />

a few others (1945 Le Père Serge, Lucien Gasnier-<br />

Raymond; 1947 Monsieur de Falindor, René Le Hénaff;<br />

Le Village de la Colère, Raoul André; 1948 Fiacre 13,<br />

also technical cooperation, two parts: “Le Crime,”<br />

“Le Châtiment,” Raoul André; L’Assassin est à l’Ecoute,<br />

Raoul André). In 1929, he directed the fi rst <strong>French</strong><br />

talking picture (Les Trois Masques).

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