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亨利-乔治·克鲁佐

1907-11-20编剧

性别:

生日:1907-11-20

出生地:法国,尼奥尔

又名: H.G. Clouzot,Henri Georges Clouzot

职业:编剧

家庭成员:Véra Clouzot(妻) / Inès Clouzot(妻)

Henri-Georges Clouzot (August 18, 1907 – January 12, 1977) was a French film director, screenwriter and producer. He is best remembered for his work in the thriller film genre, having directed The Wages of Fear and Les Diaboliques, which are critically recognized to be among the greatest films from the 1950s. Clouzot also directed documentary films, including The Mystery of Picasso, which was declared a national treasure by the government of France. Clouzot was an early fan of the cinema and, desiring a career as a writer, moved to Paris. He was later hired by producer Adolphe Osso to work in Berlin, writing French-language versions of German films. After being fired from German studios due to his friendship with Jewish producers, Clouzot returned to France, where he spent years bedridden after contracting tuberculosis. Upon recovering, Clouzot found work in Nazi occupied France as a screenwriter for the German-owned company Continental Films. At Continental, Clouzot wrote and directed films that were very popular in France. His second film Le Corbeau drew controversy over its harsh look at provincial France and Clouzot was fired from Continental before its release. As a result of his association with Continental, Clouzot was barred by the French government from filmmaking until 1947. After the ban was lifted, Clouzot reestablished his reputation and popularity in France during the late 1940s with successful films including Quai des Orfèvres. After the release of his comedy film Miquette et sa mère, Clouzot married Véra Gibson-Amado, who would star in his next three feature films. In the early and mid-1950s, Clouzot drew acclaim from international critics and audiences for The Wages of Fear and Diabolique. Both films would serve as source material for remakes decades later. After the release of La Vérité, Clouzot's wife Véra died of a heart attack and Clouzot's career suffered due to depression, illness and new critical views of films from the French New Wave. Clouzot's career became less active in later years, limited to a few television documentaries and two feature films in the 1960s. Clouzot wrote several unused scripts in the 1970s and died in Paris in 1977. Description above from the Wikipedia article Henri-Georges Clouzot, licensed under CC-BY-SA, full list of contributors on Wikipedia

获奖情况

1956 第9届戛纳电影节 主竞赛单元 金棕榈奖(提名) 毕加索的秘密 第9届戛纳电影节 主竞赛单元 评审团特别奖 毕加索的秘密

1953 第6届戛纳电影节 主竞赛单元 金棕榈奖 恐惧的代价 第3届柏林国际电影节 主竞赛单元 金熊奖 恐惧的代价

1949 第3届戛纳电影节 主竞赛单元 金棕榈奖(提名) 重放人生 第10届威尼斯电影节 主竞赛单元 金狮奖 情妇玛侬

1947 第8届威尼斯电影节 国际奖 国际电影大奖(提名) 犯罪河岸 第8届威尼斯电影节 国际奖 最佳导演 犯罪河岸

演员作品

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1940: Taking over French Cinema

1940: Taking over French Cinema

纪录片,历史,电视电影

2019-05-19 

Paris, 1940. German occupation forces create a new film production company, Continental, and put Alfred Greven – producer, cinephile, and opportunistic businessman – in charge. During the occupation, under Joseph Goebbels’s orders, Greven hires the best a

1940: Taking over French Cinema

克鲁佐之谜

克鲁佐之谜

纪录片

2017-10-17 

Great filmmakers claim the artistic influence of French director Henri-Georges Clouzot (1907-1977), a master of suspense, with a unique vision of the world, who knew how to offer both great shows and subtle studies of characters. Beyond the myth of the ty

克鲁佐之谜

亨利-乔治·克鲁佐的地狱

亨利-乔治·克鲁佐的地狱

纪录片

2009-10-01 

In 1964, Henri-Georges Clouzot's production of L'Enfer came to a halt. Despite huge expectations, major studio backing and an unlimited budget, after three weeks the production collapsed. This documentary presents Inferno's incredible expressionistic orig

亨利-乔治·克鲁佐的地狱

毕加索的秘密

毕加索的秘密

纪录片

1956-05-18 

《毕加索的秘密》(Le Mystère Picasso,亨利—乔治·克鲁佐,1956年|80分钟|35毫米|黑白与彩色|有声)以悬疑片的手法记录了西班牙画家毕加索(1881—1973)的一次作画过程。1956年盛夏,在法国南部海滨城市尼斯的一间画室里,面对难耐的酷热及聚光灯的强烈辐射,毕加索兴致昂然地挥笔作画:生动的线条在画纸上迅速游走和变形,一朵花先是变成一条鱼,接着变成一个美人,然后变成一只公鸡,最后变成了牧神。本片导演亨利—乔治·克鲁佐(Henri-Georges Clouzot,1907—1977)以拍摄悬疑片著称(据说希区柯克眼中的竞争对手只有一人,他就是克鲁佐),代表作有《乌鸦》(1943)、《恐惧的代价》(1953)等。克鲁佐在拍摄这部美术纪录片时,放弃了当时流行的传记式或说教式拍摄模式。本片虽然也有很多悬念,但不是故事片常见的戏剧性悬念,而是画家的创作过程本身,千变万化的创作过程给观众带来了扣人心弦的感觉。法国电影理论家安德烈·巴赞从这部影片中看到了电影艺术自身的特质,即只有电影能够在瞬间截获并表现时间的流动(巴赞为本片写作了影评《〈毕加索的秘密〉:一部伯格森式的影片》,见安德烈·巴赞《电影是什么》,中国电影出版社1987年版,第204—214页)。本片以独特的方式记录了毕加索创作20余幅画作的详细过程,观看本片成为近距离接触这位绘画大师的最有效途径。本片拍竣后,毕加索将拍片过程中所画的20余幅画悉数毁弃,因此本片显得更加珍贵。此外,本片摄影师克劳德·雷诺阿是著名画家奥古斯特·雷诺阿的孙子、著名电影导演让·雷诺阿的侄子。

毕加索的秘密