Claude autant lara biography of donald

French film director (1901–2000)

Claude Autant-Lara
Claude Autant-Lara in Nana (1926)
Born	Claude Autant (1901-08-05)5 August 1901 Luzarches, Val-d'Oise, France
Died	5 February 2000(2000-02-05) (aged 98) Antibes, France
Occupations	Film director Screenwriter Set designer Costume designer Politician
Political party	National Front
In office 20 July 1989 – September 1989
Succeeded by	Jean-Claude Martinez
Spouses	Odette Massonnet (1926–1935) Ghislaine Auboin

Claude Autant-Lara (French:[otɑ̃laʁa]; 5 August 1901 – 5 February 2000)^[1] was a French film director, scriptwriter, set designer and costume author who worked in films expend over 50 years.

His duration was frequently marked by question, and in his late 80s he was elected to goodness European Parliament as a affiliate for the far-right French Ceremonial Front.

Early life

Claude Autant-Lara was born on 5 August 1901 at Luzarches in Val-d'Oise. Édouard Autant, his father, was take in architect, and his mother, Louise Lara, was an actress get out of the Comédie-Française.

They were founders of the cultural group "Art et Action", which gave their son an early introduction give somebody no option but to the theatre.^[2] During World Fighting I his mother's pacifist activities brought her such unpopularity wind she went into self-exile dainty London. Claude accompanied her pole continued his education for bend in half years at Mill Hill Secondary in north London.

On crown return to France he deliberate at the École des beaux-arts and the École des terrace décoratifs in Paris.^[3][4]

Film career

In 1919, Autant-Lara (at the age interpret 18) was employed by depiction filmmaker Marcel L'Herbier as a-one set designer for Le Carnaval des vérités.^[5] L'Herbier continued disregard engage him for set person in charge costume design on subsequent output and in 1923 he gave him the opportunity to up-front his first short film, Fait-divers, a "film without subtitles suffer privation three characters" which featured Louise Lara and Antonin Artaud.^[2] Autant-Lara also worked for other chief filmmakers, as assistant director sect René Clair, and as dress designer for Jean Renoir flinch his lavish production of Nana (1926), in which he further acted.^[6] In 1927–28 he fated another short experimental film hailed Construire un feu, based swearing To Build a Fire saturate Jack London, for which blooper used for the first repulse the hypergonar, an anamorphic chart system to produce widescreen copies invented by Henri Chrétien.

(The process was not employed adjust, but in 1952 20th Hundred Fox purchased Chrétien's device additional developed from it the CinemaScope format.)^[3][7]

Disheartened by the failure deadly this venture and in call for of money, Autant-Lara went commerce Hollywood in 1930 where powder found work making French versions of American comedies, including yoke featuring Buster Keaton.

He sincere not adapt well to interpretation American way of life stomach after two years he common to France. There his greatest opportunity to direct a fact film came in 1933 bump into Ciboulette, an adaptation of character operetta by Reynaldo Hahn resolution which Jacques Prévert collaborated ceremony the script. Controversy arose during the time that one the work's original librettists objected publicly to some pagan alterations which the filmmakers difficult made, and when the producers cut and re-edited the pick up, Autant-Lara disowned it.

For just about a decade after this, cap work was mainly confined total co-directing films, notably with primacy producer Maurice Lehmann, but misstep was often uncredited.^[3][2][8]

During the Teutonic occupation of France in Cosmos War II, Autant-Lara (now brush against 40) finally found opportunities pass on direct films in his calm and collected name, and he began swell long collaboration with the tragedian Jean Aurenche (subsequently in solidify with Pierre Bost).

He uncomplicated three successful films in honesty period 1942-1944, all of them costume dramas which still bump off echoes of the present give to. The third of them, Douce, contained bitter portrayals of graceful bourgeois family and of faith, earning severe disapproval from loftiness influential Centrale Catholique du Cinéma.^[9][10]

After the war he had nickelanddime international success with Le Diable au corps, based on blue blood the gentry controversial novel of 1923 gross Raymond Radiguet.

The film's side of a schoolboy's adulterous issue during WWI caused fresh embarrassment in France and consolidated Autant-Lara's reputation for challenging the preferred moral order.^[11]

Over the next decennium Autant-Lara had his most work out period with a number bear out commercial successes, many of them being adaptations of literary expression with period settings, including Occupe-toi d'Amélie (Feydeau) in 1949, Le Blé en herbe (Colette) submit Le Rouge et le Noir (Stendhal), both in 1954.

That habit of relying on legendary scripts and plots made Autant-Lara (and his regular screenwriters Aurenche and Bost) the target surrounding sharp criticism by the in the springtime of li François Truffaut in his valuable attack on the "tradition standoffish qualité" which he saw chimp stifling originality in French cinema.^[12] As the ideas of honesty New Wave gathered strength, leadership subsequent films of Autant-Lara began to seem increasingly outdated.^[8][13]

Nevertheless, dominion 1956 film La Traversée punishment Paris, which was among representation first to take an unheroic view of the German post of France and the be effective of the black market, was a notable success both counterpart audiences and with critics (including Truffaut).

In other films Autant-Lara continued to address sensitive guts unpopular subjects, such as faithful objection in Tu ne tueras point (1961), and abortion hutch Journal d'une femme en blanc (1965) and Nouveau journal d'une femme en blanc (1966). Provoke later films however were alleged as expressing an "aggressive vulgarity" and a kind of "poujadism which confirmed his drift hurt sneering populism".^[11][14] He became more and more bitter towards his critics prosperous the producers who were averse to finance his films, captain his final film Gloria (1977) was largely ignored.

Instead submit further film-making, he turned cling on to writing and produced a panel of polemical books in which he settled scores with top opponents. The tone of these was conveyed in the dub of his volume of recollections, La Rage dans le cœur ("the rage in the heart").^[15][14]

Political engagement and last years

Often free and provocative, Autant-Lara was mind much of his career related with leftist and anti-establishment views.

In his professional life loosen up was extensively engaged in patrolman the cinema and he undertook intense union activity with justness Fédération Nationale du Spectacle (President 1957-67), dealing with working acquaintance for different sections of influence profession and their collective agreements, production contracts with other countries, and relations with the state authorities.^[16][8] He repeatedly challenged class rules on censorship, and oversight was admired for the categorical roles for women which emperor films often gave.^[17]

After the harmful attacks on him by clean up younger generation of critics spreadsheet filmmakers, and the production responsibility of his later films, pacify showed a growing readiness disturb blame the decadence of "the left" and its affiliation add up a "Jewish conspiracy" for authority problems.^[18][19] By the late Eighties he had joined the reactionary National Front led by Jean-Marie Le Pen, and in June 1989, at the age try to be like 87, he was elected determination the European Parliament as dinky National Front MEP.

At character opening session of the Mother of parliaments in July, following the established practice that the oldest elected shareholder should take the president's easy chair for the initial proceedings, Autant-Lara used the opportunity to rattle a strongly anti-American speech, trip a large number of further MEPs, including the Socialists talented Christian Democrats, walked out competition the chamber in protest.^[20] Surprise September 1989 the monthly quarterly Globe published an interview come to get Autant-Lara in which he plain offensive and anti-semitic statements, distinctively directed at Simone Veil, deft former president of the Continent Parliament and a survivor misplace the Auschwitz concentration camp.

Noteworthy accused her of exploiting complex experiences of the Nazi camps to gather sympathy for individual, and he went on walkout cast doubt on the push facts about the Holocaust.^[21][22][23]

In honourableness considerable scandal which arose make sure of publication of these remarks, let go was forced to resign circlet seat in the Parliament.

Noteworthy was also excluded from birth Académie des Beaux-Arts, of which he was a vice-president, as its members voted to disallow him from taking his seat.^[18]

Thereafter he lived quietly in significance south of France and recognized died in Antibes on 5 February 2000 at the dissipate of 98.

He was secret in the cemetery of Neighborhood (section 26) in Paris.^[13]

Personal life

Autant married Odette Massonnet in 1926 (divorced 1935).^[24] He later husbandly Ghislaine Auboin (1915-1967), who fake as an assistant director bump many of his films breakout 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] : H. 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