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Encyclopedia of French Film Directors

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292 • DECASTER, LUC<br />

“La Société du Spectacle” (documentary; short;<br />

also screenwriter, voice, editor)<br />

1981 In girum imus nocte et consumimur igni (also<br />

screenwriter; shot in 1978)<br />

DECASTER, LUC (October 21, 1943, Paris,<br />

France–)<br />

He grew up in Saint-Nazaire and began his working<br />

life as an industrial drawer, then history teacher<br />

(1976), and fi nally documentary director.<br />

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

1997 La Vie en Vert (documentary)<br />

1998 Tête de File (documentary; short; also screenwriter)<br />

2002 Rêve d’Usine (documentary; also screenwriter)<br />

DECAUX-THOMELET, FRANÇOISE<br />

After her theatrical and cinematographic studies, she<br />

notably authored and directed several plays with her<br />

company, the Compagnie du Crocodile (Tonton Gégé:<br />

j’joue plus!; Les Mitoumiriens; Débordé par la Base; Le<br />

Chevalier de l’Eau; Acné juvénile et la Banane magique;<br />

Les Mystères des Pruneaux males et Fils). She is also a<br />

teacher at the University <strong>of</strong> Paris VIII (theater department).<br />

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

1986 Les Rances (short; also screenwriter, dialogist)<br />

1987 Nora ou le nouveau Pauvre (short; also screenwriter,<br />

dialogist)<br />

1988 La Salle des Pas perdus (short; also screenwriter,<br />

dialogist)<br />

1990 La Grosse (short; also screenwriter, dialogist)<br />

1996 L’@mour est à réinventer, dix Histoires d’Amours<br />

au temps du Sida (segment “Enceinte ou Lesbienne”)<br />

2001 Du côté des Filles (also screenwriter, adapter,<br />

dialogist; shot in 1999)<br />

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

1995 Tango, Mambo et Cha-Cha-Cha (also co-screenwriter,<br />

co-dialogist)<br />

1996 La Taupe<br />

1998 Le Feu sous la Glace (also screenwriter, dialogist)<br />

DECOIN, HENRI (March 18, 1890, Paris, France–July<br />

5, 1969, Neuilly-sur-Seine, Hauts-de-Seine, France)<br />

A fi rst-rate athlete, he took part in the 1912 Olympic<br />

Games as a member <strong>of</strong> the <strong>French</strong> swimming<br />

team. After serving as an airman during World War<br />

I, he started a career in sports journalism, writing<br />

articles for L’Auto, L’Intransigeant, and Paris-Soir.<br />

He authored a novel, Quinze Combats, and several<br />

plays (Hector; Normandie; Le Téméraire; Jeux dangereux).<br />

A fi lm director since 1931, he also worked<br />

as co-screenwriter (1925 Le Roi de la Pédale, also<br />

co-author <strong>of</strong> original novel, Maurice Champreux;<br />

Le P’tit Parigot, René Le Somptier; 1936 Port-Arthur<br />

/ USA: I Give My Life, <strong>French</strong>-language version <strong>of</strong><br />

Nickolas Farkas’s Port Arthur, Nicolas Farkas, Germany;<br />

1949 Portrait d’un Assassin, Bernard-Roland);<br />

screenwriter (1928 La Ronde infernale, Luitz-Morat;<br />

1931 Le Chanteur inconnu, Victor Tourjansky; 1942<br />

Annette et la Dame blonde also adapter, Jean Dréville;<br />

1947 Capitaine Blomet, also co-adapter, Andrée Feix);<br />

screenwriter, adapter, and dialogist (1931 Un Soir de<br />

Rafl e / USA: Dragnet Night, Carmine Gallone; 1932 Le<br />

Chant du Marin, Carmine Gallone; Hôtel des Etudiants,<br />

Victor Tourjansky; 1934 Roi de Camargue, Jacques de<br />

Baroncelli; Poliche, Abel Gance); co-adapter (1931<br />

Son Altesse l’Amour, <strong>French</strong>-language version <strong>of</strong> Joe<br />

May’s Ihre Majestät die Liebe, Erich Schmidt, Robert<br />

Péguy, Germany; 1938 Katia, as co-dialogist, Maurice<br />

Tourneur); dialogist (1932 L’Homme qui ne sait pas<br />

dire non, <strong>French</strong>-language version <strong>of</strong> Heinz Hilpert’s<br />

Ich will Dich Liebe lehren, Germany; 1951 Boîte de Nuit<br />

/ USA: Hotbed <strong>of</strong> Sin, Alfred Rode); adapter and dialogist<br />

(1932 Je vous aimerai toujours, <strong>French</strong>-language<br />

version <strong>of</strong> Mario Camerini’s T’amero sempre, Mario<br />

Camerini, Italy; 1934 L’Or dans la Rue, Kurt Bernhardt;<br />

1951 Avalanche, Raymond Ségard); fi lm supervisor<br />

(1935 J’aime toutes les Femmes, <strong>French</strong>-language version<br />

<strong>of</strong> Carl Lamac’s Ich liebe alle Frauen, Carl Lamac,<br />

Germany); technical adviser (1942 Le Grand Combat,<br />

also co-adapter, dialogist, Bernard-Roland); and technical<br />

and artistic consultant (1946 Il suffi t d’une Foi,<br />

Andrée Feix). He appeared in archives included in a<br />

documentary (1997 Ombre & Lumière: Henri Decoin,<br />

Cinéaste, Hubert Niogret). From 1927 to 1933, he<br />

was married to actress Blanche Montel (1902–1998)<br />

and from 1935 to 1941 to actress Danielle Darrieux<br />

(b. 1917). His son is novelist and screenwriter Didier<br />

Decoin (b. 1945).<br />

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

1931 A bas les Hommes (short; also screenwriter)<br />

1933 Les Bleus du Ciel (also screenwriter, dialogist)

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