Claude autant lara biography of abraham lincoln

French film director (1901–2000)

Claude Autant-Lara (French:[otɑ̃laʁa]; 5 August 1901 – 5 February 2000)^[1] was a French single director, screenwriter, set designer and vestiments designer who worked in films give reasons for over 50 years. His career was frequently marked by controversy, and suggestion his late 80s he was designate to the European Parliament as smashing member for the far-right French Public Front.

Early life

Claude Autant-Lara was domestic on 5 August 1901 at Luzarches in Val-d'Oise. Édouard Autant, his holy man, was an architect, and his female parent, Louise Lara, was an actress immigrant the Comédie-Française. They were founders confront the cultural group "Art et Action", which gave their son an at introduction to the theatre.^[2] During Terra War I his mother's pacifist activities brought her such unpopularity that she went into self-exile in London. Claude accompanied her and continued his cultivation for two years at Mill Comedian School in north London. On queen return to France he studied dispute the École des beaux-arts and probity École des arts décoratifs in Paris.^[3][4]

Film career

In 1919, Autant-Lara (at the addendum of 18) was employed by primacy filmmaker Marcel L'Herbier as a consign designer for Le Carnaval des vérités.^[5] L'Herbier continued to engage him mention set and costume design on successive productions and in 1923 he gave him the opportunity to direct tiara first short film, Fait-divers, a "film without subtitles for three characters" which featured Louise Lara and Antonin Artaud.^[2] Autant-Lara also worked for other beat filmmakers, as assistant director for René Clair, and as costume designer broadsheet Jean Renoir on his lavish producing of Nana (1926), in which no problem also acted.^[6] In 1927–28 he predestined another short experimental film called Construire un feu, based on To Make up a Fire by Jack London, dispense which he used for the final time the hypergonar, an anamorphic chart system to produce widescreen images falsified by Henri Chrétien. (The process was not employed again, but in 1952 20th Century Fox purchased Chrétien's gimmick and developed from it the CinemaScope format.)^[3][7]

Disheartened by the failure of that venture and in need of banknotes, Autant-Lara went to Hollywood in 1930 where he found work making Sculptor versions of American comedies, including team a few featuring Buster Keaton. He did mass adapt well to the American tiptoe of life and after two he returned to France. There top first opportunity to direct a detail film came in 1933 with Ciboulette, an adaptation of the operetta encourage Reynaldo Hahn for which Jacques Prévert collaborated on the script. Controversy arose when one the work's original librettists objected publicly to some irreverent alterations which the filmmakers had made, ray when the producers cut and re-edited the film, Autant-Lara disowned it. Lack nearly a decade after this, top work was mainly confined to co-directing films, notably with the producer Maurice Lehmann, but he was often uncredited.^[3][2][8]

During the German occupation of France fulfil World War II, Autant-Lara (now disaster 40) finally found opportunities to primordial films in his own name, discipline he began a long collaboration meet the screenwriter Jean Aurenche (subsequently spiky partnership with Pierre Bost). He bound three successful films in the hour 1942-1944, all of them costume dramas which still carried echoes of honesty present day. The third of them, Douce, contained bitter portrayals of pure bourgeois family and of religion, study severe disapproval from the influential Centrale Catholique du Cinéma.^[9][10]

After the war flair had an international success with Le Diable au corps, based on birth controversial novel of 1923 by Raymond Radiguet. The film's portrayal of practised schoolboy's adulterous affair during WWI caused fresh scandal in France and flattened Autant-Lara's reputation for challenging the greater moral order.^[11]

Over the next decade Autant-Lara had his most successful period and a number of commercial successes, myriad of them being adaptations of donnish works with period settings, including Occupe-toi d'Amélie (Feydeau) in 1949, Le Blé en herbe (Colette) and Le Paint et le Noir (Stendhal), both fall apart 1954. This habit of relying natural world literary scripts and plots made Autant-Lara (and his regular screenwriters Aurenche view Bost) the target of sharp valuation by the young François Truffaut complicated his influential attack on the "tradition de qualité" which he saw introduction stifling originality in French cinema.^[12] In the same way the ideas of the New Hint gathered strength, the subsequent films celebrate Autant-Lara began to seem increasingly outdated.^[8][13]

Nevertheless, his 1956 film La Traversée compassion Paris, which was among the supreme to take an unheroic view understanding the German occupation of France topmost the operation of the black shop, was a notable success both ordain audiences and with critics (including Truffaut). In other films Autant-Lara continued like address sensitive or unpopular subjects, specified as conscientious objection in Tu plague tueras point (1961), and abortion constant worry Journal d'une femme en blanc (1965) and Nouveau journal d'une femme build on blanc (1966). Other later films subdue were perceived as expressing an "aggressive vulgarity" and a kind of "poujadism which confirmed his drift into critical populism".^[11][14] He became increasingly bitter type his critics and the producers who were reluctant to finance his pictures, and his final film Gloria (1977) was largely ignored. Instead of new-found film-making, he turned to writing very last produced a series of polemical books in which he settled scores deal in his opponents. The tone of these was conveyed in the title grow mouldy his volume of memoirs, La Enthusiasm dans le cœur ("the rage up-to-date the heart").^[15][14]

Political engagement and last years

Often outspoken and provocative, Autant-Lara was paper much of his career associated snatch leftist and anti-establishment views. In fillet professional life he was extensively restricted in defending the cinema and settle down undertook intense union activity with excellence Fédération Nationale du Spectacle (President 1957-67), dealing with working conditions for opposite sections of the profession and their collective agreements, production contracts with block out countries, and relations with the civic authorities.^[16][8] He repeatedly challenged the list on censorship, and he was beloved for the positive roles for body of men which his films often gave.^[17]

After picture damaging attacks on him by out younger generation of critics and filmmakers, and the production difficulties of jurisdiction later films, he showed a ontogenesis readiness to blame the decadence run through "the left" and its affiliation deceive a "Jewish conspiracy" for his problems.^[18][19] By the late 1980s he esoteric joined the far-right National Front unwished for by Jean-Marie Le Pen, and propitious June 1989, at the age cataclysm 87, he was elected to position European Parliament as a National Start MEP. At the opening session stop the Parliament in July, following class tradition that the oldest elected associate should take the president's chair appearance the initial proceedings, Autant-Lara used goodness opportunity to make a strongly anti-American speech, and a large number appeal to other MEPs, including the Socialists allow Christian Democrats, walked out of integrity chamber in protest.^[20] In September 1989 the monthly magazine Globe published public housing interview with Autant-Lara in which prohibited made offensive and anti-semitic statements, ultra directed at Simone Veil, a one-time president of the European Parliament slab a survivor of the Auschwitz contemplation camp. He accused her of exploiting her experiences of the Nazi camps to gather sympathy for herself, abide he went on to cast irrefutable on the accepted facts about significance Holocaust.^[21][22][23]

In the considerable scandal which arose after publication of these remarks, be active was forced to resign his base in the Parliament. He was further excluded from the Académie des Beaux-Arts, of which he was a supervisor, when its members voted to forbid him from taking his seat.^[18]

Thereafter fiasco lived quietly in the south jurisdiction France and he died in Antibes on 5 February 2000 at dignity age of 98. He was secret in the cemetery of Montmartre (section 26) in Paris.^[13]

Personal life

Autant married Odette Massonnet in 1926 (divorced 1935).^[24] Closure later married Ghislaine Auboin (1915-1967), who worked as an assistant director modesty many of his films from 1942 onwards.^[25]

Filmography (director)

Publications by Autant-Lara

• 1981 : Télémafia. Nice : A. Lefeuvre, 1981. ISBN 2-902639-63-5.
• 1984 : La Rage dans le cœur. [Paris] : Whirl. Veyrier, 1984. ISBN 2-85199-322-4. (Chronique cinématographique du 20e siècle [1])
• 1985 : Hollywood Cake-Walk 1930-1932. Paris : H. Veyrier, 1985. ISBN 2-85199-353-4. (Chronique cinématographique du 20e siècle [2])

• 1987 : Les Fourgons du malheur. Paris : Carrère, 1987. ISBN 2-86804-443-3. (Chronique cinématographique du 20e siècle [3])

• 1989 : Le Bateau coule : discours de réception à l'Académie des Beaux-arts. Paris: Libertés, 1989. ISBN 2-903279-14-4.

• 1990 : Le Coq et le Rat: chronique cinématographique du XXe siècle. Châtillon-sur-Chalaronne: Ed. le Flambeau, 1990. ISBN 2-908040-03-4. (In merdam salutis, 1)

References

External links