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Encyclopedia of French Film Directors

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230 • CLOUZOT, CLAIRE<br />

Peppino e Violetta / UK: Never Take No for an<br />

Answer (also co-screenwriter; Italy / UK)<br />

1952 Domenica (also adapter, co-dialogist, producer)<br />

Rayé des Vivants (also producer)<br />

Images d’Argile (documentary; short)<br />

1953 Moineaux de Paris (also adapter, producer)<br />

Le Mont Saint-Michel (documentary; short)<br />

1954 Nuits andalouses / Noches andaluzas (also coadapter,<br />

co-producer; France / Spain)<br />

1955 Un Missionnaire (also producer)<br />

1957 Quand vient l’Amour / Ko pride ljubezen / Kad<br />

dodje ljubav (also co-adapter, co-dialogist, coproducer;<br />

shot in 1955)<br />

Adorables Démons (also co-dialogist; coproducer)<br />

Marchands de Filles / USA: Girls Merchants /<br />

Sellers <strong>of</strong> Girls (also screenwriter, dialogist)<br />

Ca aussi . . . c’est Paris (documentary; short)<br />

1958 Prisons de Femmes (also co-adapter)<br />

1959 Filles de Nuit / La legge del vizio / Denn keiner ist<br />

ohne Sünde / USA: Girls <strong>of</strong> the Night (also coscreenwriter,<br />

co-adapter; France / Italy / West<br />

Germany; shot in 1957)<br />

Le Fric / La grana (also screenwriter, producer;<br />

France / Italy)<br />

Bal de Nuit (also screenwriter)<br />

1960 Touchez pas aux Blondes (also co-screenwriter,<br />

co-adapter, co-dialogist)<br />

1961 Cocagne / Fernandel scopa e pennel (also coscreenwriter,<br />

co-adapter; France / Italy)<br />

1963 La Porteuse de Pain / La portatrice di pane /<br />

USA: The Bread Peddler (also co-screenwriter,<br />

co-adapter, co-dialogist; France / Italy)<br />

1964 Requiem pour un Caïd (also co-screenwriter)<br />

Coplan Agent secret FX 18 / Uccidete agente<br />

segreto 777—stop / Accion en Mallorca / Orden:<br />

FX 18 / USA: FX 18, Secret Agent (France / Italy<br />

/ Spain)<br />

1966 Baraka sur X 13 / Agente X-77— ordine di<br />

uccidere / Operacion Silencio / UK: Agent X-77<br />

Orders to Kill / USA: Baraka X-77 / Baraka<br />

for Secret Service (also co-screenwriter, coadapter;<br />

France / Italy)<br />

1967 Le Vicomte règle ses Comptes / The Viscount:<br />

Furto alla banca mondiale / Atraco al hampo<br />

/ UK and USA: The Viscount (France / Italy /<br />

Spain)<br />

1968 Le Tueur aime les Bonbons / Un Killer per sua<br />

maestà / Zucker für den Mörder / UK and USA:<br />

The Killer Likes Candy (also co-screenwriter;<br />

co-director with Richard Owens = Federico<br />

Chentrens; France / Italy / West Germany)<br />

1973 Mais toi tu es Pierre (shot in 1971)<br />

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

1974 Le Chevalier de Janjoie (TV miniseries)<br />

1978 Les Hommes de Rose (6 52')<br />

1981 Le Mari, la Femme et le Cosmos<br />

La Guerre des Chaussettes<br />

1983 Dessin sur un Trottoir (also screenwriter, adapter,<br />

dialogist)<br />

CLOUZOT, CLAIRE (August 2, 1933, Paris,<br />

France–)<br />

The niece <strong>of</strong> fi lmmaker Henri-Georges Clouzot, she<br />

was a reporter, journalist, fi lm critic (notably for the<br />

review Ecran), trainee editor, and script supervisor on<br />

Agnès Varda’s and Claude Lelouch’s movies. She authored<br />

several books: 1972 Le Cinéma français depuis<br />

la Nouvelle Vague (Fernand Nathan / Alliance française);<br />

1976 Autobiographie d’une Pionnière du Cinéma: 1873–<br />

1968 (collective book, Gonthier); Paroles, elles tournent<br />

(collective book, Editions des Femmes); 1999 William<br />

Klein <strong>Film</strong>s (Editions Marval); 2004 Catherine Breillat:<br />

Indécence et Pureté (Cahiers du Cinéma).<br />

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

1981 L’Homme fragile (also screenwriter, dialogist)<br />

1986 Rémy Duval, 28 Place des Vosges (short)<br />

CLOUZOT, HENRI-GEORGES (November 20,<br />

1907, Niort, Deux-Sèvres, France–January 12, 1977,<br />

Paris, France)<br />

The son <strong>of</strong> a former book shopper turned auctioneer,<br />

he intended to prepare for naval school, but his myopia<br />

thwarted his projects. He opted for a diplomatic<br />

career and enrolled in the Sciences Po but soon<br />

switched to journalism as columnist at Paris-Matin.<br />

Hired as a secretary by chansonnier René Dorin, he<br />

wrote sketches for his boss and another cabaret artist,<br />

Mauricet. Encouraged by screenwriter Henri Jeanson,<br />

he entered fi lms as a screenwriter (1931 Le Chanteur<br />

inconnu, as co-adapter, Victor Tourjansky; Je serai seul<br />

après Minuit, as co-screenwriter, co-dialogist, Jacques<br />

de Baroncelli; Ma Cousine de Varsovie, Carmine Gallone;<br />

Un Soir de Rafl e, as adapter, Carmine Gallone; 1932<br />

La Chanson d’une Nuit, as adapter, dialogist, <strong>French</strong>language<br />

version <strong>of</strong> Das Lied einer Nacht, Anatole

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