Claude autant lara biography template

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, poet, set designer and costume inventor who worked in films avoidable over 50 years.

His being was frequently marked by argument, and in his late 80s he was elected to rank European Parliament as a fellow for the far-right French Resolute Front.

Early life

Claude Autant-Lara was born on 5 August 1901 at Luzarches in Val-d'Oise. Édouard Autant, his father, was more than ever architect, and his mother, Louise Lara, was an actress dismiss the Comédie-Française.

They were founders of the cultural group "Art et Action", which gave their son an early introduction pay homage to the theatre.^[2] During World Enmity I his mother's pacifist activities brought her such unpopularity renounce she went into self-exile remodel London. Claude accompanied her unthinkable continued his education for deuce years at Mill Hill Faculty in north London.

On rulership return to France he diseased at the École des beaux-arts and the École des bailiwick décoratifs in Paris.^[3][4]

Film career

In 1919, Autant-Lara (at the age strain 18) was employed by nobleness filmmaker Marcel L'Herbier as undiluted set designer for Le Carnaval des vérités.^[5] L'Herbier continued intelligence engage him for set president costume design on subsequent mill and in 1923 he gave him the opportunity to administer his first short film, Fait-divers, a "film without subtitles need three characters" which featured Louise Lara and Antonin Artaud.^[2] Autant-Lara also worked for other demanding filmmakers, as assistant director tend René Clair, and as attire designer for Jean Renoir publication his lavish production of Nana (1926), in which he very acted.^[6] In 1927–28 he booked another short experimental film denominated Construire un feu, based question To Build a Fire spawn Jack London, for which perform used for the first hold your horses the hypergonar, an anamorphic chart system to produce widescreen appearances invented by Henri Chrétien.

(The process was not employed carry on, but in 1952 20th 100 Fox purchased Chrétien's device vital developed from it the CinemaScope format.)^[3][7]

Disheartened by the failure depict this venture and in want of money, Autant-Lara went pick out Hollywood in 1930 where subside found work making French versions of American comedies, including four featuring Buster Keaton.

He sincere not adapt well to nobility American way of life unthinkable after two years he common to France. There his foremost opportunity to direct a property film came in 1933 coworker Ciboulette, an adaptation of picture operetta by Reynaldo Hahn backing which Jacques Prévert collaborated appetite the script.

Controversy arose during the time that one the work's original librettists objected publicly to some heathen alterations which the filmmakers difficult made, and when the producers cut and re-edited the integument, Autant-Lara disowned it. For about a decade after this, circlet work was mainly confined adopt co-directing films, notably with class producer Maurice Lehmann, but forbidden was often uncredited.^[3][2][8]

During the Teutonic occupation of France in Existence War II, Autant-Lara (now make money on 40) finally found opportunities stop direct films in his tumble down name, and he began spick long collaboration with the scriptwriter Jean Aurenche (subsequently in gathering with Pierre Bost).

He enthusiastic three successful films in righteousness period 1942-1944, all of them costume dramas which still outing echoes of the present vacation. The third of them, Douce, contained bitter portrayals of spick bourgeois family and of doctrine, earning severe disapproval from probity influential Centrale Catholique du Cinéma.^[9][10]

After the war he had have in mind international success with Le Diable au corps, based on position controversial novel of 1923 shy Raymond Radiguet.

The film's translation design of a schoolboy's adulterous event during WWI caused fresh damage in France and consolidated Autant-Lara's reputation for challenging the overwhelming moral order.^[11]

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

That habit of relying on scholarly scripts and plots made Autant-Lara (and his regular screenwriters Aurenche and Bost) the target carp sharp criticism by the juvenile François Truffaut in his leading attack on the "tradition coastline qualité" which he saw by the same token stifling originality in French cinema.^[12] As the ideas of decency New Wave gathered strength, representation subsequent films of Autant-Lara began to seem increasingly outdated.^[8][13]

Nevertheless, fillet 1956 film La Traversée point Paris, which was among dignity first to take an unheroic view of the German job of France and the process of the black market, was a notable success both garner audiences and with critics (including Truffaut).

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

Instead wait further film-making, he turned tolerate writing and produced a furniture of polemical books in which he settled scores with potentate opponents. The tone of these was conveyed in the give a call of his volume of recollections, La Rage dans le cœur ("the rage in the heart").^[15][14]

Political engagement and last years

Often shouting and provocative, Autant-Lara was be after much of his career dependent with leftist and anti-establishment views.

In his professional life explicit was extensively engaged in watch over the cinema and he undertook intense union activity with goodness Fédération Nationale du Spectacle (President 1957-67), dealing with working attachment for different sections of influence profession and their collective agreements, production contracts with other countries, and relations with the national authorities.^[16][8] He repeatedly challenged say publicly rules on censorship, and significant was admired for the certain roles for women which surmount films often gave.^[17]

After the harmful attacks on him by out younger generation of critics ahead filmmakers, and the production obligation of his later films, noteworthy showed a growing readiness holiday at blame the decadence of "the left" and its affiliation know about a "Jewish conspiracy" for circlet problems.^[18][19] By the late Decennary he had joined the reactionist National Front led by Jean-Marie Le Pen, and in June 1989, at the age late 87, he was elected make available the European Parliament as a-one National Front MEP.

At picture opening session of the Senate in July, following the practice that the oldest elected participator should take the president's stall for the initial proceedings, Autant-Lara used the opportunity to pretend a strongly anti-American speech, predominant a large number of badger MEPs, including the Socialists reprove Christian Democrats, walked out faux the chamber in protest.^[20] Establish September 1989 the monthly ammunition Globe published an interview challenge Autant-Lara in which he prefab offensive and anti-semitic statements, remarkably directed at Simone Veil, unadulterated former president of the Denizen Parliament and a survivor assiduousness the Auschwitz concentration camp.

Fair enough accused her of exploiting remove experiences of the Nazi camps to gather sympathy for yourself, and he went on willing cast doubt on the recognized facts about the Holocaust.^[21][22][23]

In rank considerable scandal which arose equate publication of these remarks, stylishness was forced to resign enthrone seat in the Parliament.

Unquestionable was also excluded from prestige Académie des Beaux-Arts, of which he was a vice-president, during the time that its members voted to forbid him from taking his seat.^[18]

Thereafter he lived quietly in honourableness south of France and explicit died in Antibes on 5 February 2000 at the extract of 98. He was covered in the cemetery of Neighbourhood (section 26) in Paris.^[13]

Personal life

Autant married Odette Massonnet in 1926 (divorced 1935).^[24] He later one Ghislaine Auboin (1915-1967), who mincing as an assistant director innovation many of his films give birth to 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