Henri-Georges Clouzot (French Film Directors) by Christopher Lloyd

By Christopher Lloyd

Regardless of his debatable acceptance and foreign notoriety as a filmmaker, no full-length learn of Clouzot has ever been released in English. This booklet deals an important revaluation of Clouzot's fulfillment, situating his profession within the wider context of French cinema and society, and supplying precise and transparent research of his significant motion pictures ( Le Corbeau, Quai des Orfèvres, Le Salaire de l. a. peur, Les Diaboliques, Le Mystère Picasso ).

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What principally divides critics is their moral (or moralising) position; as is 4 By contrast, in recent years nearly all of Clouzot’s films have been aired on French television and have had selected re-releases in cinemas. Le Corbeau was even shown in selected arts cinemas in the UK in 2003–04. occupation and its discontents 41 usual with scandalous films, some take an authoritarian and others a libertarian stance. 5 The majority of film critics and the public have always treated the film with respect, as a technical success and an independent-minded social critique.

Doctor who behaves equivocally by his attitude to childbirth. Poisonous atmosphere to arouse suspicion against the authors of anonymous letters, which includes a young girl of fourteen and a half with an equivocal, painful attitude. Atheistic profession of faith from the most sympathetic character. ’ 44 henri-georges clouzot characters’ emotional and physical configurations lead us to suspect that the ‘Corbeau’ must be one (or more) of the women who surround Dr Germain, the chief object of the writer’s vituperation.

They stated that the film was ‘produit et encouragé par des boches camouflés’ and ‘alimente la propagande antifrançaise’ (quoted by Barrot 1979: 15). A second article published in April 1944 by the communist Georges Sadoul reaffirmed the opinion that the film’s merit ‘n’excuse pas ceux qui se vendent à l’ennemi pour leur faire des films’ (quoted by Chavance and Clouzot 1948: 219). In 1947, when the three-year ban on Le Corbeau was finally lifted, with the film being released in three Parisian cinemas in September, the Gaullist Joseph Kessel reiterated the complaint that it offered ‘l’illustration la plus parfaite à la thèse allemande sur la pourriture de la France’.

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