Claude Lelouch - SpeedyLook encyclopedia

Biography

Beginnings in journalism

Following his failure with the baccalaureat, his/her father offers a Caméra to him to give again a chance to him. He begins his career while turning from the journalistic reports. He is in particular one of the first to film the daily life in the USSR, the hidden camera under his Trench-coat during a personal voyage. When the curtain rises then the USA in bulk enables him to gain what to continue to exert its passion. He films also many sporting events like the turn of France or the 24 hours of Mans.

He acquires this capacity thus to seize the instantaneous image and especially to make feel an atmosphere in some short plans. It is also what the critics will denounce by comparing his Cinéma to a coarse Roman-photo.

Production of films

In 1960, it founds its company of Production the Films 13 and carries out a very great number of Scopitone S (ancestor of the video clip). Claude Lelouch is undoubtedly the most prolific Réalisateur in this register if one excludes Andrée Davis-Boyer, known as “Scopitone granny”. He acquires by this skew an important relational network which will very early enable him to put in scene famous Acteur S like obtaining friendly participations of certain high-speed motorboats in its films : Johnny Halliday in the Adventure it is the adventure or Mireille Mathieu in the Happy new year . At the time, he attends also Jean Yanne and Jacques Martin which one sees appearing in the Woman spectacle .

It is for this period that it is formed on the ground because it indeed never made school of cinema. It tests in vivo generally daring methods for the time. One notices for example famous the Caméra hidden under the Trench-coat. This operation will be besides the base of its perpetual évolution : whereas it feels to put a ceiling to after the Life, the love, death in 1967, it produces a Short film on the Olympic Games of Grenoble in 1968 in which it tests techniques still little used like the Eastmancolor. One year later leaves the Hooligan , fruit of this change. The same applies with film to small budget Smic, Smac, Smoc , kind of pilot of the adventure it is the adventure or of the Happy new year .

The February 28th 2007 leaves the film Between adults that it coproduit with his/her son Simon Lelouch. One notices also Roman of station , which it carries out, but incognito, while making believe that it is Herve Picard who carries it out. Claude Lelouch used this process following the failure of his last film. During turning, it is made pass for the producer, simply.

Realizer

In 1960, its first film as a realizer, the Characteristic of the man , is whistled by the public, is décrié by criticism (“Claude Lelouch, retain this name well, in will hear you never again speak”) and does not remain more than one week with the poster. He will destroy the negative with the axe. To this failure the death of his/her father is added. In 1962, Love with if , removed and very imaginative film, hold the attention of Swedish criticism . The following year, a girl and rifles gains a little success (already tried by the use of the good things and the commercial receipts, it will turn a continuation which will however not find a distributer). In 1964, the Woman spectacle , censured for its judgments deeply misogynists (“to determine” “female nature awkwardly”, it follows prostitutes, films the women making their races or going to be made remake the nose) and gone up basic in roof, (with in Voice-over the voice of Gerard Lord, celebrates Radio presenter, that Claude Lelouch will use until in the Années 1970), is a kind of film abortive Reportage. The author seeks himself then between the succession of Saynète S anecdotic and the history parcelled out in scattered sequences.

However, this period is also that of its entry in the medium of the cinema and it binds to it its first friendships with Jacques Martin and Amidou and approaches a certain criticism even if the diversity of its activities makes it difficult to identify. However, Lelouch will not pay attention to criticism and, continuing to turn with the means of the edge, one will find the Cartoon, the Short film, etc what will be worth besides the success of a man and a woman , good criticisms with his author and, according to Claude Lelouch, this same within the coterie of the Cahiers of the cinema and the “Intelligentsia” which would have taken it a short moment for one as of theirs before rejecting it because it “did not return in their mould”.

The legend tells that it is found one morning close to a beach with Deauville where it foresees an young woman and her child on the strike. It thinks of its history, tries to reconstitute it and know how it arrived from there there. The Scenario of a man and a woman was thus born. The film is a technical miracle with the Mustang of Jean Paul Belmondo and a new style of use of the camera. The budget was joined together by Lelouch near three producing not inevitably always with the current of its real intentions. Jean-Louis Trintignant is trustful in this dynamic young man of which he knows a little the work and whose Alexandre Mnouchkine, producer for the time, entirely answers. Lelouch sets up its “techniques” of turning which it will use throughout its career in particular this capacity to make fire of any wood from the financier point of view of;: to use the buildings of the team as decorations (here, the Large hotel of Deauville), to recycle old images filmed by him several years before for other reasons (here, the 24 hours of Mans ) or to use the placement of product as means of financing of turning (Jean-Louis Trintignant on board a Ford Mustang; in the Happy new year , it will be Van Cleef & Arpels ). a man and a woman is assembled twice, the first not satisfying its author. In 1966, it is integrated in extremis into the Cannes-native selection whereas the list was closed. Its film receives the Palme of gold (decreed equal ), marking the beginning of a remarkable rise in the cinema world for this young man of twenty-nine years who however did not have a large catalog of films and was not very appreciated by the public.

According to a survey carried out in 1989, Claude Lelouch was the most known Réalisateur of the French.

A case with share

Claude Lelouch remains a case with share in the world of the French Cinéma. He enjoys a certain celebrity before to have even had a “work” worthy of this name. He will draw part of his force and his dared or commercial creativity from this perpetual competition with the public and the critical to justify this fame. If that is for him synonymous with success, money and especially a means of propelling its career by opening a reserved way to him to the largest realizers, in particular by giving of him the indication of a Réalisateur that the producing claim, it is also one of its defects which will definitively classify it with the eyes of the “Intelligentsia”, at worst like a pretentious parvenu not deserving his success, at best as a commercial realizer whose cinema does not deserve to be studied like an artistic work.

This last criticism would not miss however a fondement : its following film, To live to live , is indeed a product of the accumulation of the “formulas” which made one year earlier the success of a man and a woman (music entêtante, “true” actor playing, succession in motionless Roman-photo of jerked plans, use of an American actress for better selling film with the the United States). If were to be remade , a man and a woman: twenty years already or more tardily And now… Ladies and Gentlemen are films with relative cinematographic interest. That will initiate what one can call a “media lynching” which can come very close to certain times the bad taste. This media lynching is also used by Lelouch itself to disparage itself. It is thus very fond of delicacies of all that could make speak about him.

This reveals especially the major ambiguity of the cinema of Lelouch which is seldom let surprise by its irreducibility. It is capable of scenes considered to be marvellous and sometimes even very fine, it directs the actors in an exceptional and very personal way. Lastly, it evolves/moves by revealing several facets of its work to the wire of time but it cannot be prevented in same time to fall down in its clean Cliché S, making its films sometimes heavy and often redundant, sometimes of a certain complexity being able to appear diverting (he is a follower and precursor of the superposition ad infinitum of stories in the history in film-choral) or contrary to a frightening simplicity. For this reason, A whole life is representative of the extreme ambiguity of the character and his tortuous method and “decentring”.

Sometimes, alchemy takes and the method appears paying. Thus a man whom I like or the malicious Good and the , presenting however rather poor Scénario S, prove to be for his unconditional engraved jewels, jouissifs from their extreme limpidity and where the spectator is taken without his knowledge by scenes removed in this factitious world where all seems simple and romantic. Sometimes, on the contrary, this method leads it to the failure when it makes some too much ( the Life, love, death ) or not enough ( With us two ). For this reason, its films very early raise of a fragile balance what explains polarization first of all that they generally cause between those which adulate it and were taken and those which dedicate it to the gémonies and remained at side. Then, that also makes it possible to perceive why they sometimes badly aged so much they often rest over a few moments of a quickly evaporated frugality.

Moreover, Lelouch can be classified like a precursory eternal sometimes making hold the quality of its films with the technical projections implemented or the audacity in the setting in scene of which they are the fruit. the Happy new year is one of first French films to use Microphone S in outside (the films were up to now postsynchronized then in studio), it makes use of this projection to innovate in the play of the Acteur S what enables him to restore all their freshness with the dialogs between Lino Ventura and Francoise Fabian, a little last in end of a career or less spectacular freshness. In the same way, it is one of those which used and popularized turning Caméra with the shoulder, thinking by there that it was to be an actor moreover within film while being most active possible. Jean-Louis Trintignant, questioned on the success of a man and a woman , will say that this film raised of a true audacity and of a great originality techniques but that unfortunately, as it was one of the first to use the Eastmancolor since popularized by the Publicité, the film will appear more marketed.

Lelouch will draw from this practice from the cinematographic, solitary technique and autodidact a good part of his lucky finds and quality of its films. If they are sometimes missed, they seldom miss revealing some beautiful plans. He learned his trade on the heap — he says it and &mdash repeats it; and it is from there, much more than from a preset Scénario, than its films come. A Image can generate an entire film just as it seems obvious that the turning in itself is paramount with the development of film, i.e. the manner of making speak the actors, to place the Caméra or to include/understand, at the time, from which point of view the scene will be best returned. From there this impression of spontaneousness or this myth of the improvisation at Lelouch. Its films however seem very controlled until in the writing of the scenario but it appears to wait the exact moment of turning so that all is set up in a sometimes unforeseen way, leaving, like it says it, place with the chances that it tries to cause. Sometimes for this reason he acknowledges “to discover his once finished films”.

In a more general way, its manner of filming, because it seems more relevant of speaking about manner of filming than to realize, is dependant on the technique for better and for worse. Thus, a good part of its style rises naturally from her desires from cameraman but also from the problems which it met to that point reach as of the lucky finds that it knew to extract from this kind of nuisance. Its cinema can thus appear extremely empirical or Amateur.

However, a film of Lelouch is recognized generally easily, some speaking about a “Lelouch style” often to ridicule it. That implies that the weather exists a manner of being particular with its author. This one is sought throughout its career but leads to a more and more finished result. As of the beginning of the Years 1980, its scenarios are packed, its stories are densifient and the Flashback S, proposed up to now on the almost exclusive mode of the return ticket in time, mix and are connected in a more complex way. All and sundry seems to be the true kickoff of this new type of cinema that Lelouch will practice thereafter. To leave, to return , Route of a child spoiled or the Poor wretches are perfect examples. It is not any more an improvisation set up with the row of technique about turning.

Of Lelouch general public

Lelouch gives rise to from now on more whole films and more “popular”, with the noble direction of the term. Cinema for general public, i.e. for the public which “sees large”, like says it Philippe Labro. This type of film is copied soon besides in its manner, giving rise to family films of the Années 1990 - 2000.

It is possible that Lelouch understood that the nature of the cinema changed. Up to now, it was satisfied to apply the usual receipts which ended up becoming exhausted at the end of the decade 1970. For example, a film like Robert and Robert rest on a Scénario attracting and distracting but the technical realization, if it does not spoil productions of this time, shines today by its obsolescence. All seems to occur as if Lelouch included/understood the importance of the cinematographic novel methods and the potential which they offer to its talent. As usual, its style follows closely the technique of the cinema. With heavier apparatuses, its plans are densifient and let see images more construites : finished the time of exclusive the Camera with the shoulder, the movements proceeding of this method from now on fewer, less extravagant but will be worked also. Perhaps the sign that Lelouch, however large sportsman, is also tired. Thus, in the plan which followed, in an unmethodical way, the actors as in the Cat and the mouse , the adventure it is the adventure or the malicious Good and the , Lelouch prefers to use the camera to give the impression of the movement, impression sometimes crushing as in All and sundry where the wild imaginings of a Jacques Villeret materialized by the throbbing movements of the camera which make move the spectator and make him feel the unpredictability of the actor. It has recourse to the scene-table more and more, leaving more place to the play of the actors. Its direction becomes more radical and more dared probably. It seems to carry out them always more in the desired direction which seems to be that of the maximum effectiveness. Lelouch, having directed two cameras on the heads of the actors in private conversation, assoie with their side and their breath then their text, sometimes in the greatest surprise. That enables him to check each expression on each mot. That gives also place to increasingly chopped exchanges, reduced to a skeleton of Dialog turning around key words. There still, that takes or not but it should be noticed that Lelouch seems to go more and more radically in this way, its film Parisian the being reduced almost entirely to a succession plans centered on the head of the actors. But this technique, resting more than ever on quality of the dialogs, puts also ahead the brittleness of the latter when Lelouch is not inspired.

It is necessary to retain its capacity of it to evolve/move with the center even of sound kind which appears much less fixed than it appears to with it. It even manages to make emerge a “Lelouch kind”, proceeding of a logic started for a long time and which it seems determined to push radically with the end. This style seems radically far away from the “chabadabada” to which one reduces it caricaturalement.

Mankind, it is the alternation of the goods and the bad moments. It is necessary to agree to take risks to be happy. Happiness, it is when the troubles rest. And if one seeks to avoid the troubles, one will not be entitled to happiness.

Homages

By his many Realization S, Claude Lelouch was several times put at the honor.
Il has existed for a few years, with Deauville, a place Lelouch.
Au Festival Jules Verne Aventures, there had the honor to chair the jury.
Et in 2007, the International festival of Cannes pays homage to him by selecting its last film, Roman of station , except compétition.
Au Festival Each one its cinema , it will have the honor to present Cinéma of Boulevard which it Co-carried out with Theo Angelopoulos, Olivier Assayas, Jane Campion, Joel Coen,…

Here what he announced besides during the selection of Roman of station :

I wanted to be able to remake a film by amusing me, while going to essence, without undergoing the pressure of the market or the constraints marketing of the trade. To require of Herve Picard (who exists well) to be my figurehead enabled me to have peace during the year that lasted the writing and the realization… From the moment when the festival pays a homage to me, I was obliged of course to make public my small secrecy. It is an honor which the festival makes me a wink the year when I celebrate my 50 years of cinema and my fortieth film

Anecdotes

One calls it “Coconut”.

In 1960, on its return of the military service to the 23 years age, it founds its named production company the Films 13 which it would have thus called because of the 13 letters composing its name and its first name. One also finds this figure in the Club 13 (see below).

Of 1980 with 1985, he was the companion of Evelyne Bouix and they had a child. Of 1986 with 1992, it Maria with Marie-Sophie L. and they had three children. In 1993, it is linked with Alessandra Martines and they had a child. He also married in Christine Cochet.

His/her children are called Sarah, Salome, Sashka, Seb, Simon, Shaya and Stella Lelouch. It will be noticed that their initial all is S.L

Claude Lelouch is also celebrates it owner of the Club 13 , a complex Paris IEN reserved for the entertainment world. This club is divided into rooms of projection, Montage and Restaurant S.

At the time of the 20th edition of the Telethon, Claude Lelouch and the Films 13 carried out a Short film with Fabien Barthez and ten children reached by a Maladie neuromusculaire. The topic of the film était : Let us transform research into treatments to gain the match of the life . The scene of turning was organized around the Parc of the Princes to Paris.

For the 7th edition of the Price Romance Movies Black Chart , Claude Lelouch, accompanied by Catherine Jacob, chaired the jury which was to elect the delivers most adaptable to the Cinéma.

It also chaired the jury of the festival of Deauville 2004, of the Festival Runs 18 Of Paris (editions 2005 and 2006) and of the Latin-American Cinema festival.

It refused the presidency of the International festival of film of Tōkyō of 2006.

It chairs in 2007 the Festival of the film Jules Verne Aventures in memory of all its years of career.

Quotations

Criticism is entitled to all the opinions, with the proviso of having some.
Cannes, it is initially a staircase: a staircase easy to go up… difficult to go down! , a man and a woman at the head, which does of it one of the most prestigious Réalisateur French.

Distinctions

By the realization of his feature-length films, Claude Lelouch was rewarded with many recoveries by gaining international prizes such as a Oscar, a Lion of Gold and a Palme of gold.

He was member of the jury of the Cannes festival 1967.

With the Festival of the American cinema of Deauville, it is from now on possible to be trotted on the place Claude Lelouch. The latter was named thus in the forty years honor of the film a man and a woman , one of its more famous feature-length films. The realizer has ajouté : a man and a woman is a film worship, mythical for the whole world and especially for Deauville. When one presents Deauville abroad, one speaks to us about a man and a woman .

Rewards

1965 : With the Festival of the film Mar del Plata, price of the best realization for a girl and rifles .
1966 : With the Cannes festival 1966, a man and a woman gains the Grand Prix of the XXe birthday (which then replaces the Palme of gold).
1967 : a man and a woman , Oscar of the best original screenplay and better film in foreign language.
1967 : Money ribbon of the best realizer of a foreign film for a man and a woman with the Blue Ribbon Awards .
1967 : Price of the Best realizer for a man and a woman with the National Italian Syndicate off Film Journalists .
1971 : Price David di Donatello of the best foreign realizer for the Hooligan .
1975 : the Cat and the mouse gained the Grand Prix of the French Academy.
1977 : Special mention of the jury for It was an appointment with the Cracow Film Festival .
1978 : The film Molière, of which he is producer, gained the César of best photography and the César of the best decorations
1982: César of the best film for All and sundry .
1993 : With the Festival of films of the world of Montreal, better realizer for All that… for that! .
1996 : the Poor wretches , Golden Globe Award of best foreign film.
1996 : With the Mostra of Venice, small Lion of Gold for Men, women, directions for use .
2002 : With the Mostra of Venice, UNESCO Award for 11 ' 09" 01 .

Nominations

1964 : With the Festival of Berlin, named for its realization of the Love with if .
1967 : With the Oscars, named for its realization of a man and a woman .
1967 : With the Golden Globe Award S, named for its realization of a man and a woman .
1967 : With the DGA Awards, named for its realization of a man and a woman .
1968 : 13 days in France belonged to the French official selection of the Cannes festival.
1968 : With the Festival of Berlin, named for its realization of 13 days in France .
1968 : With BAFTA Awards, named in the category Better Film for a man and a woman .
1976 : With the Oscars, named for its scenario in A whole life .
1982 : With the Cannes festival 1981, official selection for All and sundry .
1996 : With BAFTA Awards, named in the category Better Foreign film for the Poor wretches.

1996 : With the Mostra of Venice, named for Men, women, directions for use .

2002 : And now... Ladies and Gentlemen belonged to the selection except competition of the Cannes festival 2002.

2003 : With the Césars of 2003, named in the category Better European Film for 11 ' 09" 01 .

2006 : In the category worse film , Our friends Land the was named with the Gerard of the cinema.

Collaboration with Lay Francis

See too

Films 13, production company of Lelouch
His/her partners:

His/her children:

List of the partners of Lelouch
detailed Composition of Lay Francis

External bond

Bibliography

John Wakeman, World Film Directors . Biography
Claude Lelouch, Route of a child spoiled , Robert Laffont, 2000. Lelouch tells its rise in the cinema world and the artists with whom he worked.
Claude Lelouch, A whole life , Sun, 2004. Lelouch tells the horrors which the man could carry out during the two world wars.
Claude Lelouch, A whole life - Volume 2 , Sun, 2005. Continuation of the precedent
Claude Lelouch, Claude Lelouch: directions for use, Calmann-Levy, 2005. It is about a development on its films: those which the public liked and those which he did not like.

Sources

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