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Encyclopedia of French Film Directors

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344 • DUHOUR, CLÉMENT<br />

Peindre ou faire l’Amour, also actor, Arnaud and Jean-<br />

Marie Larrieu; Le Domaine perdu, Raoul Ruiz, France /<br />

Italy / Romania / Spain; 2006 Cœurs / Cuori / US festival:<br />

Private Fears in Public Places, Alain Resnais, France / Italy;<br />

2007 La Maison, Manuel Poirier; Sans moi, Olivier Planchot;<br />

2008 Made in Italy, Stéphane Giusti; La Femme<br />

invisible, Agathe Teyssier), production assistant (1996<br />

For Ever Mozart, Jean-Luc Godard), and director <strong>of</strong> an<br />

unreleased feature fi lm.<br />

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

1994 Un Dimanche à Paris (unreleased)<br />

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

1996 Un Siècle d’Ecrivains (documentary; episode<br />

“Emmanuel Bove”)<br />

DUHOUR, CLÉMENT (December 11, 1911, Anglet,<br />

Pyrénées-Atlantiques, France–January 3, 1983,<br />

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

The son <strong>of</strong> wealthy merchants, he was a fi rst-rate<br />

sportsman and took part in the 1932 Los Angeles<br />

Olympic Games. He started an artistic career under<br />

the pseudonym <strong>of</strong> Guy Lormont as a music hall and<br />

cabaret singer. A fi lm actor (and <strong>of</strong>ten producer)<br />

(1942 L’Âge d’Or, Jean de Limur; Dernier Atout, Jacques<br />

Becker; 1945 La Route du Bagne, Léon Mathot; 1947<br />

La Colère des Dieux, Carl Lamac; 1948 Gli uomini sono<br />

nemici / Le Carrefour des Passions / USA: Crossroads <strong>of</strong><br />

Passion, Ettore Giannini, Italy / France; 1951 Passion,<br />

Georges Lampin; 1952 Paris chante toujours!, also<br />

producer, Pierre Montazel; Promenades à Paris, thirteen-short<br />

series, Stany Cordier; 1953 La Route du<br />

Bonheur / Saluti e baci, also producer, Maurice Labro,<br />

Giorgio C. Simonelli, France / Italy; Monsieur et Madame<br />

Curie, short, Georges Franju; Embarquement pour<br />

le Ciel, short, Jean Aurel; Le Chemin de l’Etoile, short,<br />

Jean Mousselle; La Montagne au Bout du Monde, short,<br />

Lionel Terray; Histoires de Bicyclettes, short, Emile<br />

Roussel; 1954 Si Versailles m’était conté / UK: Fabulous<br />

Versailles / USA: Royal Affairs in Versailles / Affairs in<br />

Versailles, also producer; Sacha Guitry; 1956 Napoléon<br />

/ Napoleone / Napoleone Bonaparte, also producer,<br />

Sacha Guitry, France / Italy; Si Paris nous était conté,<br />

also producer, Sacha Guitry; 1957 Assassins et Voleurs<br />

/ USA: Lovers and Thieves, also producer, Sacha Guitry;<br />

Le Naïf aux Quarante Enfants, also producer, Philippe<br />

Agostini; 1960 Candide ou L’Optimisme au XXème Siècle<br />

/ USA: Candide, Norbert Carbonnaux), in 1943 he<br />

had married actress Viviane Romance (1912–1991),<br />

with whom he created a production company, Izarra,<br />

in 1949. After their divorce, he founded a new society,<br />

La C.L.M. (Courts et Longs Métrages). He fi nanced<br />

several <strong>of</strong> Sacha Guitry’s fi lms. In the early 1960s, he<br />

gave up cinema to dedicate himself to catering. Other<br />

credit (as producer): 1956 Le Pays d’où je viens (Marcel<br />

Carné).<br />

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

1957 Les Trois font la Paire (co-director with Sacha<br />

Guitry; also producer, actor)<br />

1958 La Vie à Deux / UK: Life Together / USA: Life as<br />

a couple (also producer)<br />

1959 Vous n’avez rien à déclarer? (also producer,<br />

actor)<br />

DULAC, GERMAINE (Germaine Charlotte<br />

Saisset-Schneider / November 17, 1882, Amiens,<br />

Somme, France–July 20, 1942, Paris, France)<br />

Born into a family <strong>of</strong> industrialists, she was raised<br />

by her grandmother in Paris. After studying various<br />

arts, including opera, dance, and music, she married<br />

writer and journalist Marie-Louis-Albert Dulac in<br />

1905. A militant suffragette, she collaborated on<br />

Marguerite Durant’s feminist newspaper La Fronde<br />

and to La Française (1906–1913), the organ <strong>of</strong> the<br />

<strong>French</strong> suffragette movement in which she published<br />

theater criticism. Her meeting with actress<br />

Stacia Napierkowska led her to cinema in 1914. The<br />

following year, she created a production company<br />

run by her husband that successively was named<br />

Krishna, Delia, and then D.H. <strong>Film</strong>. She co-produced<br />

La Lumière du Coeur (Edmond Van Daële, 1916)<br />

and supervised the shootings <strong>of</strong> Mon Paris (Albert<br />

Guyot, 1927) and Le Picador (Lucien Jaquelux, 1932).<br />

Her name remained linked to avant-garde cinema.<br />

She was a fi lm theorist and the permanent secretary<br />

<strong>of</strong> the <strong>French</strong> cine-club movement.<br />

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

1917 Les Sœurs ennemies<br />

Dans l’Ouragan de la Vie / Venus Victrix<br />

Géo le Mystérieux ou La Vraie Richesse<br />

1918 Âmes de Fous (six episodes: “La Seconde Marquise<br />

de Sombreuse,” “Le Château maudit,”<br />

“Folie, L’Exilée,” “La Danseuse inconnue,”<br />

“Hallucination et Réalité”; also screenwriter)<br />

Le Bonheur des Autres<br />

La Jeune Fille la plus méritante de France<br />

1919 La Fête espagnole

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