Encyclopedia of French Film Directors

Filmography
1931 Un Homme en Habit
Rien que la Vérité
La Chance / USA: Luck
Tu seras Duchesse! / USA: You Will Be a Duchess
1932 Coiffeur pour Dames / USA: Ladies Hairdresser
La Perle
Passionnément (Louis Mercanton started
shooting the movie)
Mon Coeur balance / USA: My Heart Hesitates
Le Fils improvisé
1933 La Poule
Ah! Quelle Gare!
Je te confi e ma Femme (also producer)
Le Père prématuré
1934 Primerose
L’Ecole des Contribuables
Dédé
Prince de Minuit
1935 Parlez-moi d’Amour
Dora Nelson
Les Sœurs Hortensias
Bourrachon
1936 Une Fille à Papa
Toi c’est moi
Ménilmontant
1938 Visages de Femmes
Sweet Devil (UK)
GUIT, GRAHAM (May 3, 1968, Neuilly-Sur-Seine,
Hauts-de-Seine, France–)
He dropped out of high school at age sixteen to
direct his fi rst movie (Caleb) before serving as an assistant
on nine shorts.
Filmography
1984 Caleb (short)
1988 Le Roman de Léo (short)
1997 Le Ciel est à nous / USA: Shooting Stars (also coscreenwriter,
co-adapter, co-dialogist; France
/ Canada)
1998 Les Kidnappeurs (also screenwriter)
2003 Le Pacte du Silence / US DVD: Pact of Silence
2008 Hello Goodbye
GUITRY, SACHA (Alexandre-Georges Guitry /
February 21, 1885, St. Petersburg, Russia–July 24,
1957, Paris, France)
GUITRY, SACHA • 481
The son of the great actor Lucien Guitry (1860–
1925), he had a mediocre schooling. In 1899, he made
his stage debut under the pseudonym of Lorcey in
Victor Hugo’s Hernani. At age sixteen, he wrote the
fi rst of his 120 plays, La Page, which was created in
1902. In 1905, his play Nono (written in four days)
was a huge success, helping him become one of the
most famous French boulevard authors of his century.
In 1915, he fi lmed a documentary (Ceux de chez
nous / USA: Those of Our Land) in which appeared
his father’s friends: actress Sarah Bernhardt; writers
Anatole France and Octave Mirbeau; stage director
André Antoine; painters Edgar Degas, Claude Monet,
and Auguste Renoir; playwright Edmond Rostand;
future director Jean Renoir; and composer Camille
Saint-Saëns. He played in a couple of silent movies
(1918 Un Roman d’Amour et d’Aventures, also screenwriter,
René Hervil, Louis Mercanton; 1923 La Voyante,
also author of original play, Léon Abrams, Louis
Mercanton) but was not interested in cinema before
the beginning of the talkies era. He collaborated as
a screenwriter on several fi lms (1931 Le Blanc et le
Noir, as author of original play, screenwriter, dialogist,
Léonce Perret; 1938 L’Accroche-Cœur / Riviera Express,
as screenwriter, dialogist, technical adviser, Pierre
Caron; 1951 Adhémar ou Le Jouet de la Fatalité, as
screenwriter, dialogist, Fernandel, Sacha Guitry fell
ill and chose Fernandel to direct the movie; 1958 La
Vie à Deux / UK: Life Together / USA: Life as a Couple,
as screenwriter, dialogist, Clément Duhour; 1960 Au
Voleur! / Affäre Nabab, as screenwriter, Ralph Habib,
France / West Germany). Many of his plays were
brought to the screen (1924 The Lover of Camille, from
Deburau, Harry Beaumont, USA; 1930 Sleeping Partners,
from Faisons un Rêve, Seymour Hicks, USA; 1940
Lucky Partners, from Bonne Chance, Lewis Milestone,
USA; 1996 Beaumarchais l’Insolent / USA: Beaumarchais
the Scoundrel, Edouard Molinaro; Désiré, Bernard
Murat; 1997 Quadrille, Valérie Lemercier; Le Comédien,
Christian de Chalonge; 2001 Un Crime au Paradis,
from La Poison, Jean Becker) and adapted for TV (1970
Zwei ganze Tage / Zwei ganze Tage—Wir woollen uns
ein Luftschloss bauen / Faisons un Rêve, Marcel Ophüls,
West Germany / France; 1972 Au Théâtre ce Soir, episode
“La Pélerine écossaise,” Pierre Sabbagh; 1976 La
Jalousie, Raymond Rouleau; Désiré, Jeannette Hubert;
Le Comédien, Jeannette Hubert; 1978 Au Théâtre ce
Soir, episodes “Quadrille,” “Le Nouveau Testament,”
Pierre Sabbagh; 1980 Mon Père avait raison, Paul-
Robin Banhaïoun; 1982 Deburau, Jean Prat; 1984 Au