Sebastien Japrisot

Jean-Baptiste Rossi , more known under the pseudonym of Sebastien Japrisot , Anagram of its true name, born the July 4th 1931 with Marseilles, deceased the March 4th 2003 with Vichy in France, is a Romancier, Scénariste, translator, realizer and lyric writer.

Rare writer - as well by the quality and the originality of its feather as by the relative thinness of its work - scenario writer, realizer, dramatic author, Sebastien Japrisot did not neglect any art and excelled in all. As a virtuoso of the plays of narration, it knew to abolish all conventions of the fiction and marked as well the history of the 7th art as literature. For an author also appreciated of the public, Japrisot was known paradoxically little, almost not giving interviews, except at the time of the exit of the books or the films to which it had contributed. Japrisot was a writer in permanent search of a balance between the technique of the effective detective novel and the pure literary sensitivity.

Biography

Sebastien Japrisot, perfect anagram of its name - what will choose to sign Jean-Baptiste Rossi his the first two detective novels Compartiment killers and Piège for Cinderella , written after in a few days, without imagining only one moment the success which they were going to have, without thinking that it would become the " Marienbad of the novel policier" and that the cinema would seize its books.

Marseilles youth (1931-1948)

Born on July 5th, 1931, with Marseilles, in a family of Italian origin, Jean-Baptiste Rossi lives in the district of Beautiful-of-May. His/her father disappears whereas it is seven years old. His/her grandfather takes part in his education by often leading it to the cinema. It is as of this time which its need goes up to tell of the stories, summarizing in front of his/her comrades the films which he saw, embroidering, inventing of the episodes…

Tout small I was very timid, but I could speak. I always liked that. I realized that if I told a history I existed. I needed to speak, and to speak gave me a species of being able. I said myself that, later, I would be a teller of stories .

First in French and having a phenomenal memory, his/her mother insists that it makes his studies at the Jesuits with the Saint-Ignace college. It is returned for indiscipline.

Meanwhile, the mother of Jean-Baptiste had remade her life with a truck-driver in the large heart which, of its own consent, was its only " truth papa".

First writings (1948-1952)

It thus follows its class of philosophy to the Thiers college, and it is during the courses of physics and chemistry that it undertakes, to mislead the trouble, at seventeen years, to write the Evil left . It blackens on soft pages and pages, letting run its imagination, to tell the impassioned loves of a schoolboy and a nun.

Gone up with Paris with the following re-entry to be registered in the Sorbonne, Jean-Baptiste Rossi has only one goal: to make publish its novel, find an editor. A friend recommends to him a typing pool to the Quay of the Clock, to make there type the first part of the Mal parties . It was not really the good address, but a service intended to lawyers and for the doctors without secretary. Germaine Huart, a typist realizing of her distress, proposes to him to type her manuscript apart from the work hours. She is small, timid and nice. It has the love at first sight. This young girl will become his wife. While living with the latter, he will write the second part of the Mal parties .

Not knowing the world of the edition, it is by chance, because the cover of volumes of the collection " Pavillons" he had attracted the eye with the window of the bookstore Gibert, which it tries its chance near Robert Laffont. Without realizing that the collection in question shelters only of the foreign authors. He asks to personally see the owner to give to him in clean hand the single specimen of his manuscript. He makes the seat several days. Robert Laffont, Marseillais like, agree to him at once to publish this history in spite of the sulfurous subject, the unfavorable opinions of his reading panel - except for Robert Kanters -, and the threats of the Jesuits. One is in February 1950, Rossi does not have whereas nineteen years.

This book is worth to him a success of regard in France, a beautiful aureole with the Latin Quarter near its elder as Roger Nimier which declared: “Jean-Baptiste Rossi is very young, but it is not in a hurry to show it”. At once translated abroad, the book is a success striking down with the the United States. Rossi obtains a contract mirific with Pocket Books. In order to prove with oneself which he is not the author of only one work, he writes in the tread Visages of the love and hatred , long news for the number of October 1950 of Réalités , re-examined directed by Marcel Mithois.

Excursions towards the translation, publicity, the short films (1953-1961)

To earn its living, whereas its knowledge in English language further does not go that those acquired to the school, it starts to freely translate several novels westerns of Clarence E. Mulford (the author of the series Hopalong Cassidy), under the pseudonym of Robert Huart, for the new collection " Arizona" of Robert Laffont. One entrusts to him thereafter in 1953 the translation of the Catch-hearts of J.D. Salinger, the history of a fragile teenager. But the Catch-hearts does not meet the immediate favor of the public (100 sold specimens) and that causes to disgust the Rossi young person of the literature. It still translates in 1956 But which killed Harry?, the novel of Jack Trevor Story from which Alfred Hitchcock drew his film. Then it enters as originator and chief of publicity two great Parisian agencies, of which Synergies, with Air France, Rubafix, the wines Postillon, the perfumes Houbigant like main customers. Its life becomes again comfortable. Retrospectively, he entrusts: “I came more and more late to the office and I was so in a hurry to leave there that the way even finished by me seeming absurd. ”

At that time, towards the 29 years age, it becomes acquainted with the producer Pierre Braunberger, the man of films of the Pleiad, the true initiator of the New wave, the producer who launched Truffaut, Godard, Resnais, Lelouch. This last wishes to produce the Evil left . The film is not done (delivers too difficult to put in images) but Braunberger finding with its author of the gifts of director, requires of him to adapt a news of Maupassant. Rossi will answer him that he likes as much to invent stories itself. Thus Rossi asks for a leave of six months its advertizing agency and carries out for Braunberger two short films: the Machine with speaking about love with Nicole Shepherd and the Obsession , a police film where deaf-mute sees a killer with the action. Finally being able to give free course to its imagination, Rossi leaves publicity definitively, any more the cinema does not release, and works as scenario writer for various directors, in particular Jean Renoir and Marcel Ophuls.

It translates the News of J.D. Salinger in 1961. And there, Salinger the French like beautiful revenge who redécouvrent the Catch-hearts . But the translations and the cinema do not nourish its man.

Return to the literature and birth of Sebastien Japrisot (1962-1970)

In January 1962, J. - B. Rossi has an urgent need of money at the same time to make live its hearth and to alleviate its tax collector who claims an impressive arrear: 500.000 francs of the time. Taxes that one claims to him on his profits of advertizing executives exhausted for a long time. His/her friend and close Robert Kanters, with whom it partly owes the publication of the Mal parties and which directs the police collection " Club" crime; of at Denoël, proposes that he writes a detective novel to him. Rossi does not know anything with the police officers but that does not prevent it, the following week, to carry to its editor his manuscript Compartiment killers for which it touches 250.000 francs of advance payment. It returns later eight days with Piège for Cinderella , to touch the same amount. One pays it but by requesting it to have rare some time at Denoël… At the time to sign the contract, he proposes Sebastien Japrisot.

Fearing to mislead me in the error and to fail in the police field, I had not wanted to sign Jean-Baptiste Rossi. (Sebastien Japrisot, quoted in Of Provence the , 11/6/1977).

He does not imagine a second that he was going to become prisoner of this name and to be discovered a true gift, artisanal, to bind wire of a complex intrigue. Compartiment killers appears at the month of May 1962 followed one year after Piège for Cinderella who raid the Grand Prix of police Literature. These two books which he considered unavowable meet from the start the favor of the critic and the public. The cinema seizes some at once: Costa-Gavras for Compartment killers (its first film, with Simone Signoret and Yves Montand) and in 1965 Andre Cayatte for Trap for Cinderella (on a signed adaptation Jean Anouilh). Two great successes. Blow, the producers trail themselves with its feet. He becomes the author who writes easily for the cinema. Not so easily, precisely…

Sebastien Japrisot does not forget Jean-Baptiste Rossi. Under its true name, it publishes a satirical album désopilant illustrated by his friend Alain Trez: Odyssexe (1965) drawn from their short film carried out the year from before: The Man lost in his newspaper. The Evil left obtains at the time of a republication in 1966 the price of the Unanimity (decreed by a jury which includes/understands Sartre, Aragon, Elsa Triolet, Adamov, Jean-Louis Bory, Robert Merle). In September of the same year, Sebastien Japrisot gives finally a new novel, longer than the precedents and than he writes in three weeks: The Lady in the car with glasses and a rifle. Denoël will create a new collection, " Sweats froides" , to accommodate it. The history is that of an young woman who takes from her owner, without saying to him, her luxurious car to go on the Riviera and which, in the course of road, is confronted with increasingly incredible situations. The critic and the public adore this book which is seen decreeing the Price of Honor 1966 and Best Crime Novell in Great Britain. Even Simone de Beauvoir speaks about it.

Afterwards many tergiversations (Alfred Hitchcock, Jules Dassin, Vadim is allured by the Lady in the car ), it is finally Anatole Litvak which adapts to the screen the novel; and it makes of it even its work will (1969) with Samantha Eggar in the role titrates. Claiming were numerous: Brigitte Bardot, Michele Draper, Elizabeth Taylor, Julie Christie, Jane Fonda…

Cinematographic temptation (1970-1980)

Sebastien Japrisot, in years 70-80, writes directly for the cinema and consolidates his radiation abroad.

In the cinema less than elsewhere anybody never listens to anybody. If you want that your characters are on a white fabric, do not write a novel, write directly a scenario, the adaptation, the dialogs, all. It is what I did.

With Jean Hermann (alias Jean Vautrin), it will find Serge Silberman, producer of the Journal of a chambermaid of Brunel, and Trou , of Jacques Becker to propose to him to Adieu the friend , the history of two ex-legionaries imprisoned in a safe, one to steal it, the other to restore money there. The film, carried out in 1968 with Charles Bronson and Alain very strong Delon, walk. Serge Silberman pushes it to write again for him. Thus the Passenger is born from the rain , put in scene by Rene Clément in 1969, with Charles Bronson and Marlène Jobert. In this fight between a woman, victim of a rape which killed its attacker, and a stubborn and unforeseeable police officer which tracks it and abuses it, all is in the subtlety of the relations which are outlined between them. Scientist proportioning of keen resistance and test of domination, softness or tinted brutality of subjacent erotism.

Japrisot still writes for Silberman and with the realization same the Rene Clément, two years later, the Race of hare through the fields . At the beginning, it was a question of adapting a novel of the " Black series " Black Friday ( Friday the 13th ) of David Goodis. But very quickly, Japrisot realizes that will never go, it wants to tell another history. And so the Race of hare through the fields is one of its most personal works, which releases a strange and poetic charm. He unites two stories: that of children of Marseilles playing gangsters and that of gangsters in full action in America.

Serge Silberman pushes it with the realization. Sebastien Japrisot turns thus in 1975 its first adapted feature-length film of his novel of youth: Evil left . This film gives him the virus of the setting in scene but the writing is for him more than one passion, “an infirmity” and he hates the constraints related to the schedules. The same year, it adapts to the cinema, for Just Jaeckin, the novel of Pauline Réage: Insane History of O and to kill for Jean-Pierre Mocky according to the novel O nutcases, O castles! of Jean-Patrick Cuff. Finally, it is Yves Boisset which will carry out Folle to kill and of the blow, Japrisot will refuse to be credited with the credits.

New return to the literature (1980-1991)

After a " absence" from 10 years, it returns in a bright way to the literature in 1977, with the fatal Summer which obtains the Prix of the Two-Nest eggs in 1978. One knows less than this novel, whose events are reported by the main characters, each one bringing its vision of reality, from its personal point of view, finds its starting point in three real various facts. The novel then the film carried out in 1983 by Jean Becker (which had not turned for 16 years) and putting in the high-speed motorboat Isabelle Adjani and Alain Souchon will be the success which one knows. Adjani is more beautiful there and more provocante that never. In this ceremony in images of a patient revenge, Adjani incarnates the young seductresses lends to very to untie with its way a tragedy of the past. The radiant beauty of Provence contrasts with the macabre blackness of the intrigue. Supreme reward, the film collects in 1984 four César of which that of the best film adaptation for Japrisot. In 1986, the author publishes the Passion of the women - portrait fragmented of man by eight women which liked it and sumptuous homage to the universe of the cinema - and directs two years later Laeticia Gabrielli and Anne Parillaud for its second feature-length film July in September , history of two characters in search of love - a killer psychopathe and an young woman -, which crosses, meet but only during eight minutes. Japrisot starts the drafting of then long Sunday of engagement , which will obtain at its exit in 1991 the Interallied Prix, a price reserved to the journalists! It carried this book by hanging twenty years to him and it spent four years to write it. The reader is taken along on the battle fields of the Great War. long Sunday of engagement tells a history of love, that lived by a ravaged young girl in her flesh (it is handicapped) and in its heart (it does not believe in the death of sound promised in marriage party to the war). A history of love which is declined like a true police investigation, meticulous, cruel, and painful… A history of love which nourishes silences, of absence, memories, of eagerness….

New dawdlings on the side of the cinema (1991-2003)

long Sunday of engagement , its romantic masterpiece for much of its readers, was carried to the screen by Jean-Pierre Jeunet with Audrey Tautou in the role of Mathilde. The Children of the Marsh (1998), tender chronicle of the inter-war period dedicated to the people of modest means and to the nostalgia of a simple happiness like an sun ray or glass of wine. Realized by Jean Becker according to the novel of Georges Montforez, this film proves that the fatal Summer did not kill the Becker-Japrisot ticket. Besides Japrisot perpetuates its complicity with this same realizer by writing the scenario of a crime with the paradise (2000) according to the Poison of Sacha Guitry, the history of a couple of peasants who hate themselves at the point to wish each one death of the other, with Jacques Villeret and Josiane Balasko in the roles formerly interpreted by Michel Simon and Germaine Reuver.

Bibliography

Novels, accounts

  • Evil Left - Price of the Unanimity 1966 (under the name of J. - B. Rossi, Robert Laffont, 1950)
  • Faces of the love and the hatred (under the name of J. - B. Rossi, in Realities n° 57,10/1950)
  • Odyssexe (album illustrated by Trez, published under the name of J. - B. Rossi, Denoël, 1965)
  • the fatal Summer - Price of the Two-Nest eggs 1978, Price of the Swedish Academy 1978 (Denoël, 1977). NB: novel adapted to the cinema by Jean Becker, with Isabelle Adjani, Alain Souchon…
  • the Passion of the women (Denoël, 1986)
  • long Sunday of engagement , Interallied Price 1991 (Denoël, 1991). NB: novel adapted to the cinema by Jean-Pierre Jeunet.

Detective novels

" Writings for the écran" (scenarios published)

Translations

  • Hopalong Cassidy between concerned ( Hopalong Cassidy With the Trail Herd , 1950), Romance western of Clarence E. Mulford, transl. under the pseudonym of Robert Huart (Robert Laffont, coll " Arizona" n° 1,1951)
  • Hopalong Cassidy and brooded eagle ( Hopalong Cassidy With the Eagle' S Brood , 1931), Romance western of Clarence E. Mulford, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 2,1951).
  • Hopalong Cassidy finds a double ( Hopalong Cassidy Returns , 1923), Romance western of Clarence E. Mulford, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 3,1951)
  • Hopalong Cassidy: outlaws of West Fork ( Hopalong Cassidy and the Rustlers off West Fork , 1951), Romance western of Louis the Love, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 6,1951). (NB: the name of the author on the title page is " Tex Burns")
  • Tracks in the night ( Trails by Night ), Romance western of Tom J. Hopkins, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 7,1951).
  • Hopalong Cassidy and Companions of ranch 20 ( Hopalong Cassidy, Bar 20, Wrinkles Again , 1926) Romance western of Clarence E. Mulford, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 8,1951).
  • Hopalong Cassidy : the Sheriff Twin To rivet ( Hopalong Cassidy Serves has Writ , 1941), Romance western of Clarence E. Mulford (Robert Laffont, coll " Arizona" n° 10,1952).
  • Hopalong Cassidy : (Murder on) the Track of the seven pines ( Hopalong Cassidy and the Trail to Seven Pines , 1951), Romance western of Louis the Love, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 11,1952).
  • white Continuation ( Murder in the Outlands ), Romance western of James Beardsley Hendryx, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 12,1952).
  • Hopalong Cassidy : Panics with Tasotal ( Hopalong Cassidy and the Riders off High Rock , 1951), Romance western of Louis the Love transl. Robert Huart (Robert Laffont, coll " Arizona" n° 14,1952).
  • Hopalong Cassidy : the Worrying gunner ( Hopalong Cassidy: Disorder Shooter , 1952), Romance western of Louis the Love, transl. Robert Huart (Robert Laffont, coll " Arizona" n° 16,1953)
  • the Catch-Hearts ( The Catcher in the Rye ), novel of J.D. Salinger (Robert Laffont, coll “Houses”, 1953)
  • But… which killed Harry? ( The Disturbs with Harry ), novel of Jack Trevor Story (Robert Laffont, 1956)
  • Nouvelles ( Nine Stories ), J.D. Salinger (Robert Laffont, coll “Houses”, 1961)

Collections, works joined together in volumes

  • Writes by Jean-Baptiste Rossi (coéd. Denoël- Robert Laffont, 1987)
  • Japrisot volume 1 (police work) (Denoël, coll " Hours durant" , 2003)
  • Japrisot volume 2 (novel) (Denoël, coll " Hours durant" , 2004)

News

  • ROSSI, Jean-Baptiste. “Vagrants”. the Gazette of the Letters n° 94, Saturday, August 6, 1949, p. 10-11, it. in n/b of R. Pagès.
  • ROSSI, Jean-Baptiste. “The dead Voice”. the Nave : monthly review n° 57, September 1949, p. 46-51.
  • ROSSI, Jean-Baptiste. “Watercolour for a little boy”. the Pipe meerschaum : periodic bulletin of the Musical Movement of the Young people and the Companions in the Concert of Room of Paris, book n° 15, autumn-winter 1949, p.18
  • ROSSI, Jean-Baptiste. “Indigo Atmosphere”. the Gazette of the Letters , Saturday the 1st er April 1950 (6th year), n° 111, p. 8-9, it. Louarn.
  • ROSSI, Jean-Baptiste. “The Cruising of the " Charcot" of Frank Bullen”, summary-digest of the book of F. Bullen. the Gazette of the letters , Saturday, July 8, 1950, n° 118, p. 11, extra title: “our Digest”.
  • JAPRISOT, Sebastien. “The Obsession”. 813 , October 2003, n° 85/86, p. 20-22, it. Dominique Rousseau.

Poem

  • ROSSI, Jean-Baptiste. Dark “Feelings”. Between Us , newspaper of Parisian high-school pupils, 1947.

Catalog of films

In the capacity as realizer and scenario writer

  • the Machine with speaking about love (short film, 1961)
  • the Obsession (short film, 1962)
  • the Man lost in his newspaper (short film, with Alain Trez, 1964)
  • Evil left (1976). Réal. Rossi Jean-cambric. With France Dougnac, Marie Dubois, Pascale Roberts, Fred Nobody, Olivier Jallageas, Bernard Verley, Jean Gaven, Richard Leduc, Martine Kelly, Rene Morard, Monique Mélinand, Rene Havard
  • July in September (1988). Réal. Sebastien Japrisot. With France Dougnac, Laëtitia Gabrielli, Anne Parillaud, Pascale Pellegrin, Jean Gaven, Gisele Pascal, Daniel Desmars, Eric Damain, Cathy Esposito, Lydia Andrei, Eric Denize, Florence Geanty

In the capacity as scenario writer (scenarii original)

to also Voir the three short films and July in September which it has réalisés

In the capacity as scenario writer (adaptations of works)

In the capacity as author of original work

Discography

Words of song

  • the Passenger of the rain . Music Lay Francis, interprets Severine (Editions Francis Dreyfus, 1970). B.O of the film the Passenger of the rain of Rene Clement. Nicole Croisille included it in an appreciably different version.

Analysis of work

Topics

All the books of Sebastien Japrisot tell passion stories frays with an erudite criminal intrigue. The readers take pleasure in this labyrinthian side expensive in the writer who acknowledges: “If I approach in my pounds certain things which I think on the company, that really comes me from the characters. All that interests me, it is human, it is never ideological. This is why after Compartment killers, my novels deviated it more and more police to go towards the psychological novel where there is no more really of police intrigue. I could say things through characters who are confronted with an adventure which exceeds them. Rather than to take police officers who see murders the every day, to take a character as much as you and I which is confronted with a murder or a history in which it was not to be. I love the characters who are exceeded by the events and which, finally, gain on the events. It is all the more interesting when it is a heroin, that one believes more vulnerable, in any case more fragile physically than the men, and who is protected by the reader who is afraid for it more than for a male hero. ” (S. Japrisot, quoted in the Duty, 11/22/1986).

The requirement was always one of its qualities:

The detective novel is not a minor kind. Balzac and Graham Greene wrote police officers. You think that I exaggerate to compare to me with Balzac and Graham Greene? It is necessary to be thus at our time. I should not fish by facility If I chose to write police stories, it is because they are a convenient alibi to say that of which, by nature, I would like to speak only with low voice. The events make such a din there that one can shout and sing with conceal-head. Only, more close to you hear.

Reception and perception of work

Sebastien Japrisot lived with his mood, alternating literature and cinema, with the chance to be able to grant itself, sometimes, a few deserved years of silence. Its books, its films did not betray it. He loved the Woman, Lewis Carroll, the jazz, peace as much as the sleepless nights, the countryside and the sea, the pomerol, the memories of his childhood, it video (the greatest invention since aspirine), the miniature cars, the postage stamps and, over all, his family and his friends. There had never taken the famous person, had known to remain simple and to keep away from the Parisian society life. Translated in many countries (Europe, America, Japan, Eastern European country…), he is also regarded as one of the French writers most read abroad. Its novels, recommended by State education, form part of the school programs besides.

Press review, praises, homages

Writers

Maurice-Bernard Endrèbe, Magazine of the mystery n° 11,1978:

Japrisot crossed the distance briskly separating the Quay from the Goldsmiths of the Conti Quay and the police literature of that which is not it.

Francoise Giroud, the Sunday newspaper , October 13rd, 1991:

A diabolic mechanic. He encases, he uncouples, he screws, he unscrews, he handles his Meccano and surprises you until in its last pages. It is its trick, it excels there. In addition, it is a writer. The combination of both is not current.

Thomas Narcejac, the Large Book of the Month , December 1991:

When an author thus has the nerves of his reader and can link the resources of the tragedy and subtleties of the novel of mystery, no doubt, it is the first among the large ones…

Jean-Christophe Grangé, France Info, March 2003:

For me, it was really an absolute master, an author who had at the same time his police universe and his stylistic universe. He had this talent to always associate at the same time very particular intrigues with anguishes on the identity, on a core which was vertiginous, of a complexity, which was tightened on the level of the investigation.

Thierry Jonquet, the Animal and beautiful the , the library Gallimard n° 12,1998:

I admire Sebastien Japrisot. Its constructions abstract, rigorous, implacably rational and yet completely insane, leave me admiring. Japrisot is undoubtedly a player of very gifted failure. Mygale was influenced by Piège for Cinderella , who was a very built book, with an insane logic. Japrisot impresses me much!

Emmanuel Carrère, Nouvel Observateur n° 2011,22- 5/28/2003:

This inventor of fictions as grooved as obvious was also a designer. There are at his place attacks, speeds, relaxations, an easy and erudite music which often feels the South but never the substitute of pagnolade.

Jean-François Coatmeur, 813 , n° 85-86, October-November 2003:

Well before our ways cross, Sebastien Japrisot was already for me a model: erudite architecture of its narrative constructions, without anything which " weigh or which pose" , so human complexity of its characters, magic spells of a very worked writing, but which had kept the éthérée flexibility of the first jet… And then I met it, at the happy time of the " large-messes" rémoises. And Jean-Baptiste became a friend.

Political community

Jean-Jacques Aillagon, Minister for the Culture and Transport, communicated of March 6th, 2003:

With Sebastien Japrisot a Master from the narration, a writer as appreciated of the criticism as of the public disappears. He wrote with same ease the Lady in the car with glasses and a rifle and long Sunday of engagement . He was great popular successes as well in the detective novel as in the historical novel, and obtained prestigious prices like the Interallied one or the Two-Nest eggs. Its novels inspired by the scenario writers like Costa-Gavras, Jean Becker or Jean-Pierre Jeunet and itself was the author of scenarios which one will remember a long time, like Adieu the friend or the Passenger of the rain . He said " the only language that I include/understand, apart from French, is that of the images". He was a goldsmith in the two languages. But its greater resource came from its love for its characters and the history of our country, which will remain like the flesh of its work.

University

Andre Vanoncini, the Detective novel . PUF, coll " What do I know? " , 1993

Heroins of Japrisot, through the investigation and the crime, seek to reach and to articulate their major identity, this at the price of the self-destruction was.

Stéphanie Dulout, the Detective novel . Milan, coll " Essential Milan" , 1995

Very influenced by the inventions virtuosos of Boileau-Narcejac, Sebastien Japrisot exploits in his turn the multiple possibilities which the detective novel offers. He tries in particular, by concentrating on only one character the key functions of the intrigue, to intensify the psychological tension and the drama.

Yves Reuter, the Detective novel . Nathan University, coll " 128" , 1997:

Sebastien Japrisot is a virtuoso of the plays of narration and prospects. He looks after as much his intrigues, strong complex, that his writing.

The choice of the intrigue police, in conformity with the taste of the strange one that Japrisot had expressed as an advertizing executive, reveals especially the will to dismount the models of the genre: it is a question of subverting narrative logic to give concerned the control of the reader and the capacity of the heroes, obliged to rebuild their identity by gradually confusing the roles of the investigator, the witness, the victim and the assassin, with the risk to be themselves condemned or to lose the reason. Sylvie ROZÉ, “Dictionary of the French letters: the XXe century”, Pochothèque, 1998

Critical arts persons

Japrisot has a rare virtue, or a grace, or a chance: it cannot miss a book, not more than one film… There is in the novel of Japrisot such an expansion of intrigues, as in the picaresque literature where each character tells a universe, such a generosity of invention, such an emotion, for all to say such a talent, which one would find there ten films .
Renaud Matignon, Le Figaro .

Japrisot does not have the sad flesh. It has is delirious it elegant. Nothing astonishing on behalf of somebody who places so readily Lewis Carroll in epigraph of his books. This caïd of the black series or pale dissimulates a dreamer. Or, if one prefers, a poet, but who does not raise the collar, does not pose with the indicator. Arnould of LIEDERKERKE, the Barber-Magazine

A true novelist, a writer who found balance between the police technique and the romantic sensitivity. François GONNET, France-Inter

Japrisot is Simenon corrected by Robbe-Grillet. New Ingenuous the , 16 5/23/1963

Sebastien Japrisot has the face of the poet of Peynet, a softness which gives the goose flesh, a net of voice and the ingenuous glance. To see it tapi in a corner of the part, moving back in front of success like front a frozen bath, image even of innocence, we thought " What a superb criminal it would make! " Babette ROLIN, the Art schools , 5/17/1963

Japrisot the magician, who has constrained silence to return throat and the truth to be extended naked on the page. Gabrielle ROLIN, Le Monde , 10/28/1977

Its experiment of publicity where, writes it, " what counts, it is to put of it a blow in imagination " , seems to be useful to him in literature: it endeavors to strike the spirit of the reader by his choice of the police intrigue and an inversion with the profit of a personal writing, of all conventions of the kind. In these detective novels which are not, the strange one defines the behavior of the main actors, of which the unforeseeable million gestures threatens the direction and the order of an adult world. “Historical Dictionary, set of themes and technique of the literatures”, Larousse, 1985

The force of Japrisot, it is on the one hand this malignant construction which is connected with the play of Meccano, each part encasing one in the other. It is also, of course, this writing of simple appearance, rythmée, surprisingly phonetic, charmeusement musical… One quivers, one questions oneself, one worries. Suspense binding to the emotion. A large book, it is not anything else: a great subject, strong characters, a seizing writing. Gilles PUDLOWSKI, the Point n° 989, 8/31/1991

Sebastien Japrisot is a marvellous teller of stories, one of these rare novelists from now on who cultivates the complex art of the magicians. With this galvaudé material of the language, it builds people and worlds more real than reality. It makes jump varnish of the words, it abolishes conventions of the fiction, and we find ourselves taken with the trap of an account which one sees, hears, feels, breathes. An account as dense as the life even, also full with images, colors and shades. Michele GAS, Télérama , 10/2/1991

Exceeding with each novel the framework of a police intrigue carried out with all the rigor of the kind, Sebastien Japrisot delivers enthralling psychological dramas to us, where the strange one, humor and the emotion alternate for the greatest pleasure of the reader. MAXI-LIVRES/PROFRANCE, presentation of the author for “the Passenger of the rain”, 1995.

Narrative logic is at his place founded on its own subversion - which as well blames the conscience of the detective as the control of the reader - in the line of the tragic structure sophocléenne and the analytical account freudien. Pascal MOUGIN and Karen HADDAD-WOTLING, “world Dictionary of the literatures”, Larousse, 09/2002

Sebastien Japrisot occupies a singular place in the contemporary French novel. He succeeded in carrying out face, with an equal happiness, his work of scenario writer and novelist. Held sometimes like Anglo-Saxon of the French writers, it is one of the French authors most translated abroad. Since its very first book, the enthusiasm of the public it forever left. Especially, and it is not without less merit, if it were not confined with the detective novel, Sebastien Japrisot largely contributed to abolish, by the quality of its writing and the originality of its writing, the border between police literature and literature very short. Gerard MEUDAL, Le Monde n° 18077, 3/8/2003

Critical specialized arts persons

Leger, very shining, Jean-Baptiste Rossi (Sebastien Japrisot) engrave the sentence with an obvious pleasure, and work out very beautiful characters of women. We owe him of subtle novels to the complex machinations, style William Irish, and whose victims are often the culprits. BENVENUTI-RIZZONI-LEBRUN, “the criminal Novel: history, authors, characters”, Atalante, 1982

Even if it did it involuntarily, unconsciously, it however marked the history of French suspense. In its novels with suspense the psychological examination of the characters carries it. Michel LEBRUN & J. - P. SCHWEIGHAEUSER in the Guide of the whodunnit, history of the French detective novel , Syros, 1987

The main arguments of this novelist are the control of the writing like intrigue. All is negotiated with an innate science of the application. The subjects are strong, required. The concise, very worked language. This permanent research of rightest balance makes of Japrisot a writer as rare as determinant. Robert DELEUSE, “the Masters of the detective novel , Bordered, compact the n° 24,1991

the work of Sebastien Japrisot abroad

Translated literary works

Films abroad

Rewards

Prices decreed with Sebastien Japrisot, works in which it took part or the people having adapted its novels.

Books

  • 1963 : Grand Prix of police Literature for Trap for Cinderella (Denoël, 1963).
  • 1966: Price of the Unanimity for Evil Left (Robert Laffont, 1966 - rééd. ED. from 1950)
  • 1966: Price of Honor for the Lady in the car with glasses and a rifle (Denoël, 1966)
  • 1968: Gold Dagger Award for the Best Crime Novell off the Year 1968 (Best Foreign) decreed by the Crime Writer' S Association for The Lady in the Because (To remember Near)
  • 1978: Price of the Two-Nest eggs for the fatal Summer (Denoël, 1977)
  • 1981: The Martin Beck Award decreed by Svenska Deckarakademin (Swedish Academy) for Vedergällningen ( the fatal Summer )
  • 1991: Interallied Price for long Sunday of engagement (Denoël, 1991).
  • 1996: Adult Great Read (Honourable Mention) decreed by Nothern California Independent Booksellers Associated (NCIBA) (the USA) for has very long Engagement

Films

Nominations

  • 1971 : Laurel Award of Best Film for the Passenger of the rain (1969)
  • 1971: Edgar Allan Poe Award of Best film for the Passenger of the rain (1969)
  • 1983: Palm of gold to the Cannes festival for Jean Becker
  • 1984: César of the best actor for Alain Souchon in the fatal Summer (film of Jean Becker, 1983).
  • 1984 : César of the best realizer for Jean Becker with the fatal Summer
  • 1984: César of best film for the fatal Summer (film of Jean Becker, 1983).
  • 1984 : César of the best music written for a film: Georges Delerue
  • 1984: César of the best actor in a supporting role: François Cluzet

Victories

  • 1971 : Golden Globe Award of Best Foreign film for the Passenger of the rain (1969)
  • 1970: David di Donatello Award of the Best feminine role with Marlène Jobert for the Passenger of the rain (1969) decreed by Accademia LED Italiano Cinema.
  • 1984 : César of the best film adaptation for the fatal Summer (film of Jean Becker, 1983).
  • 1984 : César of the best actress decreed with Isabelle Adjani in the fatal Summer (film of Jean Becker, 1983).
  • 1984 : César of the best assembly decreed with Jacques Witta for the fatal Summer (film of Jean Becker, 1983).
  • 1984 : César of the best actress in a supporting role decreed with Suzanne Flon in the fatal Summer (film of Jean Becker, 1983).
  • 2005 : Edgar Allan Poe Award Better scenario decreed with Jean-Pierre Jeunet for long Sunday of engagement (2004)

Souces

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