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Encyclopedia of French Film Directors

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1995 Molom, Conte de Mongolie (also screenwriter,<br />

adapter, dialogist, co-producer; shot in 1993)<br />

1999 La Projection (documentary; medium-length;<br />

also screenwriter)<br />

2003 Yônden (docu-fi ction)<br />

2007 Tengri, le Bleu du Ciel (documentary; also<br />

screenwriter; France / Germany)<br />

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

1985– Le Temps retrouvé (documentary)<br />

1988 La Pilule de longue Vie (documentary)<br />

Le Tibétains de l’Exil (documentary)<br />

A la recherche de l’Eternité (documentary)<br />

1989 Un Eté au Tibet (documentary)<br />

Sept Femmes au Tibet sur les Traces d’Alexandra<br />

David-Néel (documentary)<br />

JAPRISOT, SÉBASTIEN (Jean-Baptiste Rossi / July<br />

5, 1931, Marseille, Bouches-du-Rhône, France–March<br />

4, 2003, Vichy, Allier, France)<br />

Of Italian descent, he was educated by the Jesuits<br />

and completed his studies at the Sorbonne University.<br />

In 1950, when he was only eighteen years<br />

old, he published a critically acclaimed fi rst novel,<br />

Les Mal-Partis (Robert Laffont). Three years later, he<br />

translated into <strong>French</strong> J. D. Salinger’s The Catcher<br />

in the Rye. In the 1950s, he earned his living as an<br />

advertising chief for two Parisian agencies. In 1960,<br />

he met producer Pierre Braunberger, who fi nanced<br />

his three shorts. Under the pseudonym <strong>of</strong> Sébastien<br />

Japrisot (an anagram <strong>of</strong> his name), he published two<br />

detective novels written in fi fteen days. They were<br />

immediately adapted by himself and brought to the<br />

screen by André Cayatte (1965 Piège pour Cendrillon<br />

/ Non sono un’assassino / UK and USA: A Trap for<br />

Cinderella, France / Italy) and Costa-Gavras (1965<br />

Compartiment Tueurs / UK: The Sleeping Car Murder<br />

/ USA: The Sleeping Car Murders). He became much<br />

in demand as a screenwriter (1968 Adieu l’Ami / Due<br />

sporche carogne / Tecnica di una rapina / USA: Farewell,<br />

Friend / Honor Among Thieves, as screenwriter, coadapter,<br />

dialogist, Jean Herman, France / Italy; 1969<br />

Le Passager de la Pluie / L’uomo venuto dalla pioggia<br />

/ USA: Rider on the Rain / US video, as author <strong>of</strong><br />

original novel, screenwriter, René Clément, France /<br />

Italy; 1970 The Lady in the Car with Glasses and a Gun<br />

/ La Dame dans l’Auto avec des Lunettes et un Fusil, as<br />

author <strong>of</strong> original novel, co-screenwriter, co-adapter,<br />

co-dialogist, Anatole Litvak, UK / France; 1972 La<br />

Course du Lièvre à travers les Champs / La corsa della<br />

lepre attraverso i campi / USA: And Hope to Die, as<br />

screenwriter, adapter, dialogist, René Clément, France<br />

/ Italy; 1975 Histoire d’O / Die Geschichte der O. / USA:<br />

The Story <strong>of</strong> O, as screenwriter, adapter, dialogist, Just<br />

Jaeckin, France / West Germany; 1983 L’Eté meurtrier<br />

/ USA: One Deadly Summer, as author <strong>of</strong> original novel,<br />

as screenwriter, adapter, dialogist, Jean Becker; 1999<br />

Les Enfants du Marais / UK: The Children <strong>of</strong> Marshland,<br />

as screenwriter, adapter, dialogist, Jean Becker; 2001<br />

Un Crime au Paradis / UK and USA: A Crime in Paradise,<br />

as co-screenwriter, co-adapter, co-dialogist, Jean<br />

Becker). After his death, Jean-Pierre Jeunet adapted<br />

his novel Un Long Dimanche de Fiançailles / USA: A Very<br />

Long Engagement (2004, France / USA).<br />

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

1961 La Machine à parler d’Amour (as Jean-Baptiste<br />

Rossi; short; also screenwriter, dialogist, voice)<br />

1962 L’Idée fi xe (as Jean-Baptiste Rossi; short; also<br />

screenwriter, monologue)<br />

1964 L’Homme perdu dans son Journal (as Jean-<br />

Baptiste Rossi; short; also screenwriter)<br />

1976 Les Mal Partis (as Jean-Baptiste Rossi; also<br />

original novel, screenwriter, adapter, dialogist)<br />

1988 Juillet en Septembre (also screenwriter, dialogist)<br />

JAQUELUX (Lucien Jaquelux)<br />

JARDIN, ALEXANDRE • 529<br />

A set decorator and production designer from 1926<br />

(Yasmina, André Hugon) to 1943 (Les Ailes blanches,<br />

Robert Péguy), he directed or co-directed a few<br />

fi lms in the 1930s. He also was occasionally an assistant<br />

director (1928 La Venenosa, Roger Lion, also set<br />

decorator) and co-screenwriter (1942 Chambre 13,<br />

André Hugon).<br />

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

1930 Les Saltimbanques / I saltimbanchi / Gaukler<br />

(co-director with Robert Land; France / Italy<br />

/ West Germany)<br />

1932 Le Picador<br />

La casa es seria (USA)<br />

1936 Le Malade imaginaire (co-director with Marc<br />

Mérenda; shot in 1934)<br />

JARDIN, ALEXANDRE (April 14, 1965, Paris,<br />

France–)<br />

The son <strong>of</strong> novelist and screenwriter Pascal Jardin<br />

(1934–1980), he wrote his fi rst novel at age twentyone<br />

and co-adapted it for the screen three years

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