472:(1929), which, like many other early ventures in sound film, was an adaptation of a stage play. This was the first fully talking picture to be made in a French studio. In addition to the technical problems presented by the heavy new sound cameras, L'Herbier was also required to make the film simultaneously in three different language versions (French, English and German) which meant that several actors had to be used in some of the roles. The film was sufficiently successful to attract other similar offers, but L'Herbier felt the loss of his independence of action, and after making two detective films based on books by
143:; 23 April 1888 – 26 November 1979) was a French filmmaker who achieved prominence as an avant-garde theorist and imaginative practitioner with a series of silent films in the 1920s. His career as a director continued until the 1950s and he made more than 40 feature films in total. During the 1950s and 1960s, he worked on cultural programmes for French television. He also fulfilled many administrative roles in the French film industry, and he was the founder and the first President of the French film school
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programmes which combined critical discussion and interviews about cinema with extracts from films, and sometimes the transmission of a complete film that had been featured in the discussion. He also directed five television plays which were mainly transmitted live. He was the first established filmmaker to work in French television, and he brought to the task an evident seriousness of purpose and concern for its educational possibilities.
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287:(1922), also filmed partly in Spain; but when the film went over-budget, L'Herbier was unable to complete it as planned, and the resulting work was appreciated more for its technical mastery than for its intellectual confrontation of two literary archetypes. After this, L'Herbier felt the need to seek his creative independence and he founded his own production company, Cinégraphic, which produced his next six films.
721:(Paris: Correa, 1946). One of the themes that he regularly addressed was the concept of authorship in film-making and the need to establish the rights of film authors over their creative work. Another important topic was the distinctive national character of French cinema and the threat to it posed by the unrestricted import of foreign productions. In 1953 he helped to establish the Cinéma section of the newspaper
678:, of which he became the secretary in 1937, and subsequently president in 1939. The union achieved improvements in rates of pay, hours of work, and insurance arrangements for accidents at work, as well as press accreditation for film journalists. The union could also speak with one voice for all aspects of the industry. After the war L'Herbier continued his lobbying for French cinema by chairing the
545:, claiming their civil responsibility, and the eventual judgment of the case (1938) in his favour recognised for the first time in French law the right of the director to be considered as an author of his film, rather than merely as an employee of the company. This marked an important stage in L'Herbier's lifelong battle for greater recognition of filmmakers as creative artists.
709:(IDHEC) was established in Paris. L'Herbier became its first president in 1944 and held the position until 1969. IDHEC offered training for directors and producers, cameramen, sound technicians, editors, art directors and costume designers. It became highly influential, and many prominent filmmakers, including some from outside France, received their training there.
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his political associations were interpreted to his disadvantage by some. However, in France his continued presence in so many aspects of the film industry until the 1960s ensured that he was not forgotten. More recently there have been re-issues and re-evaluations of both his silent and sound films and a growth in critical attention to his work.
623:(1942). This "realistic fairy tale" was very different from the prevailing style of French film production, and it allowed him to return to the style of visual experimentation which had characterised his silent films - to which he could now add innovative uses of the soundtrack. It did much to restore his critical reputation at least temporarily.
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each medium had its own aesthetic. Whereas for L'Herbier the cinema was a creative art-form, television was a medium for recording, for reproducing, for disseminating to a wide audience; television would not kill the cinema - on the contrary it could be the means of deepening the public's understanding of cinema.
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In the
English-speaking world, in the early 21st century L'Herbier remains a largely unknown figure. Screenings of his films have been rare, as have DVD re-issues, and very little of the critical literature about him has been available in English. Standard film histories, however, confirm the lasting
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The acclaim which he earned in the 1920s contrasts markedly with the relative neglect of his later work. Even in the silent period, there were those who found his work mannered and marred by an aestheticism unlinked to the subjects of his films. In the 1930s and 1940s, his public roles and sometimes
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After trying to revive his own production company, this time under the name Cinéphonic, to produce some short documentaries, l'Herbier tried to develop more satisfactory material for himself in a series of dramatised histories which he called "chroniques filmées". The three which he completed before
652:
As his career as a director for the cinema faded in the post-war years, Marcel L'Herbier transferred his energies to the relatively new and undeveloped medium of television. He was interested in what made television distinctively different from cinema, and he wrote articles developing the idea that
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The outbreak of war in 1914 changed L'Herbier's world. He withdrew from social life, and being unable to join the army immediately because of his injured hand, he went to work in a factory making military uniforms. He went on to serve with various auxiliary units of the armed forces and towards the
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which sought to establish greater recognition for the authorial rights of filmmakers. In the mid-1930s L'Herbier supported the view that the national film industry needed stronger and more coordinated organisation if it was to defend itself against foreign competition, and he was instrumental in
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During the
Occupation, L'Herbier was among those who accepted the reality of the German victory and set about creating the best conditions for the continuity of French life and French cinema. In this role he became almost a spokesman for the Vichy government on matters relating to the cinema,
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In the years 1952-1969, L'Herbier produced over 200 television broadcasts on cultural subjects, acting as presenter of most of them. Although he devoted some programmes to classical music and historical biography, most of his work explored aspects of the cinema. He presented eight series of
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L'Herbier's major contribution to the reshaping of the French film industry was the establishment of a French national film school, something which he had been arguing for over many years. In the wartime conditions, he found that there was government support for the project, and in 1943 the
570:(1936) (the navy again). Made during a period of intense political conflict between the left and the right in France, these films, by L'Herbier's own admission, represented a split in his own politics, which set his socialist sympathies against his impatience with the anti-militarism of the
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end of the war in 1917â1918 he was by chance transferred to the
Section Cinématographique de l'Armée, where he received his first technical training in film-making. His intellectual conversion to the medium of film had only recently occurred, firstly through a friendship with the actress
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After the German occupation of France in 1940, L'Herbier worked with other filmmakers to salvage the French film industry and to protect the jobs of its technicians. He went on to direct four films before the
Liberation, the most successful of which was
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was a substantial work which effectively marked the end of silent film-making for L'Herbier. He had been responsible for some of the period's most innovative developments in his own films, and he also provided support to other filmmakers such as
240:(1918), a highly original and poetic film using many experimental camera techniques, which proved too fanciful for many but which established his reputation as a talented innovator. After making another more commercial film for Gaumont,
1429:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. p.272. "...une miraculeuse conjonction de talents dont Marcel L'Herbier ne retrouvera pas souvent l'équivalent."
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Marcel L'Herbier was born in Paris on 23 April 1888 into a professional and intellectual family, and as he grew up he demonstrated a multi-talented disposition for sports, dancing, debating and the arts. He attended a
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An early romance with the future dancer
Marcelle Rahna ended in sensational publicity when she fired a revolver at him and then at herself. Both survived, but L'Herbier lost the use of a finger. In 1912 he met
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697:. Langlois found L'Herbier too autocratic and L'Herbier found Langlois too disorganised. L'Herbier continued as president until 1944, when he was finally outmanoeuvred by Langlois, and he was replaced by
502:(1931), he withdrew from film-making for two years and returned to writing. In 1933, fearing that he was losing touch with the film business, he returned to make several more versions of stage plays,
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According to the critic Noël Burch, Marcel L'Herbier and Jaque
Catelain had a homosexual relationship. Noël Burch, "Ambivalences d'un réalisateur 'bisexuel': quatre films de Marcel L'Herbier", in
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While still in the army, L'Herbier wrote two film scenarios for other directors, and then accepted an official commission to make a propaganda film about the image of France, which was funded by
600:(1939), which used the life of Edward VII to demonstrate the affinities between France and Britain; (its premiĂšre in April 1939 took place in the wake of the German invasion of Czechoslovakia).
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Throughout his career, Marcel L'Herbier was a prolific author on the subject of the cinema. He wrote over 500 articles for magazines and newspapers, some of which were collected in his book
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311:, but filming met a series of setbacks and the project was abandoned when L'Herbier contracted typhoid and was critically ill for several weeks. Later in 1923, L'Herbier was persuaded by
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in the leading roles. During filming, L'Herbier was injured when a camera fell on him, and he consequently lost the sight of one eye. He began a court action against the producers
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In 1921, only three years after his first film, Marcel L'Herbier was voted by readers of a French film magazine as the best French director. In the following year, the critic
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613:, but the imminent entry of Italy into the war alongside Germany forced him to return to France before the film was fully completed (though it was subsequently released).
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In addition to his creative work, L'Herbier undertook a number of administrative roles in the French film industry. From 1929 he was the secretary general of the
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of the same name, transposed from the 1860s to the then present day. With an international cast, art deco design, and some spectacular location filming in the
277:(1921), a grand and visually spectacular melodrama filmed on location in Andalusia; it was noted for its visual experiments with dissolves and blurred images (
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632:(1946), but otherwise his remaining films as director were fairly conventional literary adaptations, and his creative career in the cinema concluded with
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marked him as one of the filmmakers whose work was most important for the future of cinema. In this period, L'Herbier was linked with filmmakers such as
367:, and was delighted when Pirandello's mistrust of filmmakers was overcome and he agreed for the first time to the filming of one of his works,. The film
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In spite of his successes, Cinégraphic was steadily losing money, and for his next film L'Herbier chose a more popular and straightforward subject,
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184:, and under her influence he started to write plays, poetry and criticism, and made many contacts in literature and the theatre. His idols were
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333:. A striking visual spectacle was built around a fanciful plot, and the result proved highly controversial among audiences and critics alike.
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321:(1924), one of the most ambitious films of L'Herbier's career, in which he collaborated with leading figures from other art forms, including
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Mireille
Beaulieu, "Le rÎle central de Marcel L'Herbier dans la structuration des syndicats de l'industrie cinématographique", in
168:, a qualification to practice law. He went on to study literature, and in his spare time he learned harmony and counterpoint with
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Some reference sources erroneously give L'Herbier's date of birth as 1890. The correct date is confirmed in his autobiography,
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Between 1935 and 1937, L'Herbier directed seven features, including a trio which were characterised by their patriotic spirit,
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214:(1915) which awakened him to the artistic possibilities of silent films) and subsequently through encounters with the critics
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164:, followed by the Ăcole des Hautes Ătudes Sociales in Paris. He worked hard at his education and by 1910 he had obtained his
1412:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. pp.201-216.
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contributing an article on "Cinématographe" to a quasi-official publication on the state of France and its future in 1941.
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The outbreak of war in 1939 did not immediately interrupt L'Herbier's film-making, and in the spring of 1940 he was at the
246:(1919), he was offered a two-year contract with the company which gave him the means to choose more ambitious projects. On
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1592:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. p.367-382.
1515:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. p.333-343.
1502:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. p.327-332.
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1528:, sous la direction de Laurent VĂ©ray. Paris: Association Française de Recherche sur l'Histoire du CinĂ©ma, 2007, pp. 285â.
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1541:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. p. 299.
520:, all of which enjoyed commercial popularity but gave little scope for the kind of cinematic invention that he sought.
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to consider a project in which she would star, and which would also attract some
American finance; this developed into
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2014:
1608:, sous la direction de Laurent Véray. Paris: Association Française de Recherche sur l'Histoire du Cinéma, 2007. p. 9.
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as part of a "first avant-garde" in French cinema, the first generation to think spontaneously in animated images.
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466:, shot as a silent picture but given a complete soundtrack of music, songs and sound-effects, L'Herbier undertook
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440:(1923) was financed by Cinégraphic. He also gathered around him a group of regular collaborators, including
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261:, and three of these stood out as major achievements of his period in silent films. He adapted a story by
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693:, but his plans for major reorganisation soon brought him into conflict with its secretary and founder
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1966:
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644:(1953). In the 35 years since his début in 1918, he completed 14 silent and 30 sound feature films.
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Jean A. Gili, "De l'occupation à la libération: Marcel L'Herbier et la naissance de l'IDHEC", in
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172:, with the ambition of becoming a composer. Another ambition was to join the diplomatic service.
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392:(1928), a maritime drama set in the fishing port of Honfleur, and featuring the English actress
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386:(1926), filmed in the south of France, which was a commercial success. This was followed by
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Gili, "De l'occupation à la libération: Marcel L'Herbier et la naissance de l'IDHEC", in
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Gili, "De l'occupation à la libération: Marcel L'Herbier et la naissance de l'IDHEC", in
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In the post-war period, L'Herbier made one further return to the "chronique filmée" with
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during 1923 and was eager to introduce his ideas to the cinema. He chose the novel
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who subsequently appeared in most of his silent films and whom he married in 1923.
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in French). Tensions between L'Herbier and
Gaumont were resolved into the project
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416:
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1728:
1686:. Paris: Association française de recherche sur l'histoire du cinéma, 2007. .
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Between 1919 and 1922, L'Herbier made six films for
Gaumont, several in their
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France 1941. La RĂ©volution nationale constructive. Un bilan et un programme.
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in the leading role, and it became successful with critics and the public.
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Dominique Moustacchi, "Un cinéaste engagé au service du petit écran", in
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529:(1934), ("a miraculous conjunction of talents"), adapted from a play by
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L'Herbier's first production with his own company was an adaptation of
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Before his film career began, L'Herbier published a volume of poetry:
452:(who became his lifelong friend and appeared in twenty of his films).
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Michel Dauzats, "Marcel L'Herbier, un pionnier de la télévision", in
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Marcel L'Herbier died in Paris on 26 November 1979 at the age of 91.
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significance of his contributions to silent cinema, particularly in
1634:. London: Secker & Warburg, 1985. pp.45,60; Liz-Anne Bawden ,
335:
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1588:"Bibliographie des Ă©crits et entretiens de Marcel L'Herbier", in
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setting up a union for various categories of film employees, the
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The next and final Cinégraphic production (in collaboration with
357:
L'Herbier had discovered the work of the playwright and novelist
271:(1920), set and filmed on the Brittany coast. More ambitious was
1748:
1638:. Oxford: OUP, 1976. p.419; Michael Temple and Michael Witt ,
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La Féérie des fantasmes ou 80 ans de film fantastique français
222:
who were developing their own theories of the new art form.
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Syndicat des techniciens de la production cinématographique
689:
In March 1941, L'Herbier was elected president of the
1658:. Paris: Seghers, 1973. (Cinéma d'aujourd'hui: 78). .
1621:. Princeton, Princeton University Press, 1984. p. 279
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L'Enfantement du mort: miracle en pourpre noir et or
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741:In his final year, he published an autobiography,
523:L'Herbier's most successful film of the 1930s was
396:; this was the first French feature to be shot on
1741:"Obscure objects": article by Jonathan Rosenbaum.
250:, he worked for the first time with the actress
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1485:, 22 septembre 1950; "Passé d'un art futur",
707:Institut des hautes études cinématographiques
584:(1938), about Tsar Nicholas II and Rasputin,
373:(1925) featured the expatriate Russian actor
145:Institut des hautes études cinématographiques
8:
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1373:. London: Secker & Warburg, 1985, p. 44.
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424:
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607:in Rome shooting a long-cherished project,
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734:(Paris: Edward Sansot, 1914); and a play:
40:
29:
1663:Jaque Catelain présente Marcel L'Herbier
1358:Jaque Catelain présente Marcel L'Herbier
1345:Jaque Catelain présente Marcel L'Herbier
1619:French cinema: the first wave 1915-1929
1310:
415:(also 1928), an adaptation of Zola's
672:Syndicat général des artisans de film
138:
7:
680:Comité de défense du cinéma français
554:(1935) (depicting the French navy),
1442:: la plus belle mise en abyme", in
1425:: la plus belle mise en abyme", in
407:) was another large-scale project,
2116:Recipients of the Legion of Honour
1724:Les Indépendants du premier siÚcle
1604:Laurent VĂ©ray, "Introduction", in
1334:. Paris: Belfond, 1979, pp. 16â17.
578:the outbreak of World War II were
204:(he recalled that she took him to
25:
2121:CollĂšge Stanislas de Paris alumni
1684:Marcel L'Herbier: l'art du cinéma
1606:Marcel L'Herbier: l'art du cinéma
1590:Marcel L'Herbier: l'art du cinéma
1577:Marcel L'Herbier: l'art du cinéma
1564:Marcel L'Herbier: l'art du cinéma
1553:Paris: Alsatia, 1941. pp.292-314.
1539:Marcel L'Herbier: l'art du cinéma
1526:Marcel L'Herbier: l'art du cinéma
1513:Marcel L'Herbier: l'art du cinéma
1500:Marcel L'Herbier: l'art du cinéma
1444:Marcel L'Herbier: l'art du cinéma
1427:Marcel L'Herbier: l'art du cinéma
1410:Marcel L'Herbier: l'art du cinéma
825:, 1918; scenario only, and actor)
564:'s pacification of Morocco), and
1879:The Perfume of the Lady in Black
1211:L'Affaire du collier de la reine
629:L'Affaire du collier de la reine
27:French film director (1888â1979)
2131:20th-century French memoirists
1871:The Mystery of the Yellow Room
1459:. Paris: Belfond, 1979. p.251.
1347:. Paris: Vautrain, 1950, p. 8.
1268:Le Jeu de l'amour et du hasard
979:Le MystĂšre de la chambre jaune
719:Intelligence du cinématographe
479:Le MystĂšre de la chambre jaune
1:
1481:E.g. "L'Ogresse télévision",
1126:) (1939, Italy; 1942, France)
738:(Paris: Georges ClĂšs, 1917).
732:...au jardin des jeux secrets
313:Georgette Leblanc-Maeterlinck
1229:Les Derniers Jours de Pompéi
987:Le Parfum de la dame en noir
667:Société des auteurs de films
635:Les Derniers Jours de Pompei
492:Le Parfum de la dame en noir
1642:. London: BFI, 2004. p. 15.
460:After a transitional film,
2147:
1672:. Paris: Belfond, 1979. .
745:(Paris: Belfond, 1979); .
1783:
1665:. Paris: Vautrin, 1950. .
1300:(1975, anthology; for TV)
804:Filmography (as director)
39:
2055:The Last Days of Pompeii
2023:The Honourable Catherine
1636:Oxford Companion to Film
1630:For example, Roy Armes,
1258:Ce qu'a vu le vent d'est
1234:The Last Days of Pompeii
1789:Le Carnaval des vérités
1274:Les Fausses Confidences
1241:Le PĂšre de mademoiselle
1077:La Citadelle du silence
851:Le Carnaval des vérités
641:Le PĂšre de mademoiselle
594:studios in Berlin, and
2063:The Father of the Girl
1959:The Citadel of Silence
1844:
1640:The French Cinema Book
1246:The Father of the Girl
1082:The Citadel of Silence
934:
794:
691:CinémathÚque française
674:, soon renamed as the
590:(1938), filmed at the
425:
409:
405:Société des Cinéromans
354:
300:
120:
2106:French film producers
2101:French film directors
1999:La Comédie du bonheur
1837:Little Devil May Care
1566:, 2007, pp. 309â310.
1187:L'Honorable Catherine
1159:La Comédie du bonheur
1101:La Tragédie impériale
928:Little Devil May Care
880:Prométhée... banquier
610:La Comédie du bonheur
581:La Tragédie impériale
347:
327:Robert Mallet-Stevens
293:
18:Marcel l'Herbier
2047:The Queen's Necklace
1704:Marcel L'Herbier
1579:, 2007, pp. 305â309.
1216:The Queen's Necklace
966:(1931; also made in
160:school and then the
2126:French male writers
2015:La Nuit fantastique
1975:Adrienne Lecouvreur
1855:La Femme d'une nuit
1739:Moving Image Source
1668:L'Herbier, Marcel.
1294:(1967, documentary)
1292:Le Cinéma du diable
1288:(1963, documentary)
1179:La Nuit fantastique
1113:Adrienne Lecouvreur
1051:Les Hommes nouveaux
1044:Sacrifice d'honneur
963:La Femme d'une nuit
956:L'Enfant de l'amour
620:La Nuit fantastique
587:Adrienne Lecouvreur
557:Les Hommes nouveaux
469:L'Enfant de l'amour
434:, whose final film
364:Il fu Mattia Pascal
182:Maurice Maeterlinck
180:, the companion of
2096:Writers from Paris
1919:La Route impériale
1821:Feu Mathias Pascal
1775:Films directed by
1670:La TĂȘte qui tourne
1489:, 10 février 1951.
1470:La TĂȘte qui tourne
1457:La TĂȘte qui tourne
1455:Marcel L'Herbier,
1397:La TĂȘte qui tourne
1386:. 1979, pp. 19â21.
1384:La TĂȘte qui tourne
1332:La TĂȘte qui tourne
1330:Marcel L'Herbier,
1319:La TĂȘte qui tourne
1143:La Brigade sauvage
1031:La Route impériale
907:Feu Mathias Pascal
894:(1923, unfinished)
846:(1919, uncredited)
813:(1918, unfinished)
743:La TĂȘte qui tourne
442:Claude Autant-Lara
370:Feu Mathias Pascal
355:
350:Feu Mathias Pascal
301:
2073:
2072:
1863:Nights of Princes
1734:filmreference.com
1692:978-2-913758-73-5
1682:VĂ©ray, Laurent .
1661:Catelain, Jaque.
1286:Hommage Ă Debussy
1130:Children's Corner
1058:La Porte du large
950:Nights of Princes
923:Le Diable au cĆur
886:Don Juan et Faust
567:La Porte du large
560:(1936) (Maréchal
398:panchromatic film
389:Le Diable au cĆur
345:
309:the Tolstoy novel
284:Don Juan et Faust
178:Georgette Leblanc
129:
128:
46:L'Herbier in 1923
16:(Redirected from
2138:
2031:La Vie de BohĂšme
2007:Foolish Husbands
1991:Entente cordiale
1849:
1797:L'Homme du large
1777:Marcel L'Herbier
1769:
1762:
1755:
1746:
1729:filmdefrance.com
1713:Marcel L'Herbier
1656:Marcel L'Herbier
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1343:Jaque Catelain,
1341:
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1322:
1315:
1252:Adrienne Mesurat
1203:Au petit bonheur
1195:La Vie de bohĂšme
1172:Foolish Husbands
1167:Histoire de rire
1151:Entente cordiale
945:Nuits de princes
939:
859:L'Homme du large
844:
799:
597:Entente cordiale
500:
487:
463:Nuits de princes
428:
414:
359:Luigi Pirandello
346:
268:L'Homme du large
220:Ămile Vuillermoz
206:Cecil B. DeMille
166:licence en droit
142:
140:[lÉÊbje]
137:
132:Marcel L'Herbier
125:
122:LĂ©gion d'honneur
80:
77:26 November 1979
61:
59:
44:
34:Marcel L'Herbier
30:
21:
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1718:Ciné-Ressources
1700:
1651:
1649:Further reading
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1476:
1472:. 1979, p. 284.
1467:
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1454:
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1446:, 2007, p. 265.
1437:
1433:
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1416:
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1399:. 1979, p. 123.
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663:
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605:Scalera studios
572:Front Populaire
531:Henri Bernstein
494:
481:
458:
446:Philippe HĂ©riat
375:Ivan Mosjoukine
336:
252:Marcelle Pradot
228:
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110:Marcelle Pradot
85:
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2111:Film theorists
2108:
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2059:
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2043:
2039:Happy Go Lucky
2035:
2027:
2019:
2011:
2003:
1995:
1987:
1983:Savage Brigade
1979:
1971:
1963:
1955:
1947:
1943:Nights of Fire
1939:
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1360:. 1950, p. 10.
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1282:(1955, for TV)
1280:Le Ciel de lit
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1276:(1955, for TV)
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662:
661:Administration
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551:Veille d'armes
457:
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450:Jaque Catelain
331:Darius Milhaud
234:. He produced
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1654:Burch, Noël.
1653:
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101:Film director
100:
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84:Paris, France
76:
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62:23 April 1888
54:
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19:
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1129:
1124:Terre de feu
1123:
1119:
1111:
1105:
1099:
1093:
1087:
1081:
1075:
1069:
1065:Nuits de feu
1063:
1057:
1049:
1043:
1037:
1029:
1021:
1015:L'Aventurier
1013:
1007:
1001:
993:
985:
977:
961:
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949:
943:
927:
921:
913:
905:
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892:RĂ©surrection
891:
885:
879:
871:
866:Villa Destin
865:
857:
849:
834:
828:
822:
816:
810:
787:
781:
778:
774:
770:Louis Delluc
755:
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517:L'Aventurier
515:
509:
503:
490:
477:
467:
461:
459:
437:L'Inondation
435:
432:Louis Delluc
421:Paris Bourse
402:
387:
381:
379:
368:
362:
356:
348:
316:
307:(1923) from
305:Resurrection
304:
302:
294:
282:
278:
272:
266:
258:
256:
247:
241:
235:
232:LĂ©on Gaumont
229:
226:Silent films
216:Louis Delluc
209:
198:
190:Paul Claudel
174:
165:
154:
131:
130:
79:(1979-11-26)
2091:1979 deaths
2086:1888 births
2058:(1948-1950)
2034:(1942-1945)
1935:The New Men
1895:The Scandal
1813:L'Inhumaine
1468:L'Herbier,
1395:L'Herbier,
1382:L'Herbier,
1369:Roy Armes,
1222:La Révoltée
1008:The Scandal
1003:Le Scandale
899:L'Inhumaine
839: [
829:Rose-France
823:Infatuation
789:L'Inhumaine
638:(1950) and
539:Gaby Morlay
511:Le Scandale
495: [
489:(1930) and
482: [
456:Sound films
318:L'Inhumaine
296:L'Inhumaine
237:Rose-France
186:Oscar Wilde
90:Nationality
2080:Categories
1911:Le Bonheur
1887:L'Ăpervier
1829:Le Vertige
1440:Le Bonheur
1423:Le Bonheur
1356:Catelain,
1306:References
1089:Forfaiture
1023:Le Bonheur
995:L'Ăpervier
915:Le Vertige
836:Le Bercail
811:Phantasmes
762:Abel Gance
752:Reputation
648:Television
526:Le Bonheur
505:L'Ăpervier
383:Le Vertige
248:Le Bercail
243:Le Bercail
151:Early life
98:Occupation
58:1888-04-23
1951:The Cheat
1805:El Dorado
1094:The Cheat
974:versions)
873:El Dorado
818:Bouclette
783:El Dorado
274:El Dorado
259:SĂ©rie Pax
211:The Cheat
147:(IDHEC).
68:], France
1967:Rasputin
1846:L'Argent
1487:Le Monde
1483:Le Monde
1321:, p. 16.
1248:) (1953)
1236:) (1950)
1218:) (1946)
1174:) (1941)
1108:) (1938)
1106:Rasputin
1096:) (1937)
1084:) (1937)
1072:) (1937)
1046:) (1935)
1010:) (1934)
952:) (1930)
936:L'Argent
930:) (1927)
796:L'Argent
724:Le Monde
713:Writings
426:L'Argent
411:L'Argent
202:Musidora
1438:Binh, "
972:Italian
562:Lyautey
533:, with
279:"flous"
136:French:
2066:(1953)
2050:(1946)
2042:(1946)
2026:(1943)
2018:(1942)
2010:(1941)
2002:(1940)
1994:(1939)
1986:(1939)
1978:(1938)
1970:(1938)
1962:(1937)
1954:(1937)
1946:(1937)
1938:(1936)
1930:(1935)
1922:(1935)
1914:(1934)
1906:(1934)
1898:(1934)
1890:(1933)
1882:(1931)
1874:(1930)
1866:(1930)
1858:(1930)
1850:(1928)
1840:(1928)
1832:(1926)
1824:(1925)
1816:(1924)
1808:(1921)
1800:(1920)
1792:(1920)
1690:
1676:
1262:Zamore
1224:(1948)
1206:(1946)
1198:(1945)
1190:(1943)
1182:(1942)
1162:(1942)
1154:(1939)
1146:(1939)
1116:(1938)
1060:(1936)
1054:(1936)
1034:(1935)
1026:(1934)
1018:(1934)
998:(1933)
990:(1931)
982:(1930)
968:German
958:(1930)
940:(1928)
918:(1926)
910:(1925)
902:(1924)
888:(1922)
882:(1921)
876:(1921)
868:(1920)
862:(1920)
854:(1920)
831:(1919)
792:, and
448:, and
353:(1925)
299:(1924)
263:Balzac
158:Marist
116:Awards
106:Spouse
93:French
1260:, ou
843:]
543:Pathé
499:]
486:]
417:novel
66:Paris
1715:at
1708:IMDb
1688:ISBN
1674:ISBN
970:and
768:and
537:and
514:and
329:and
265:for
218:and
192:and
74:Died
52:Born
1706:at
592:UFA
208:'s
2082::
1597:^
841:fr
800:.
786:,
764:,
727:.
701:.
682:.
574:.
508:,
497:fr
484:fr
476:,
444:,
423:,
400:.
325:,
196:.
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