Pierre Laurentian

Pierre Laurentian, whose real name was Pierre Cohen, is a film director born 5 December 1904 in Brussels, Belgium filmed movies in France and Argentina and died 23 December 1990 in La garenne-colombes, in the suburbs of Paris.

He started as a documentary filmmaker and was highlighted in the French cinema in the 1930s, mainly with L’Alibi and Le dernier tournant, first the adaptations of the novel the postman always rings twice by James M. cain.

He fled France in 1942 fearing for their given life as a Jew and settled in Argentina, where he directed four films, among them a man opens the abyss. To return to France after after the Second World War he continued filming but not he returned to the place in this country film.

Biography

Pierre Chenal studied in France with background in engineering. In 1929 he made with Jean Mitra, a friend of childhood, his first short film. Two years later she filmed Le Martyre of l’obèse inspired by Colette Darfeuil, to rekindle the love of her husband, pretended to be in love with a young obese. Later La Rue sans nom Pola Illéry problems.

He then adapted crime and punishment, Fyodor Dostoevsky, with Pierre Blanchar, Harry Baur and Madeleine Ozeray, which in 1935 was nominated for the Mussolini Cup in Venice Film Festival, and the contemporary novel by Jack london, Les Mutinés of l’Elseneur with Jean Murat. It was followed by the outstanding L’homme de nulle part with Isa Miranda, Pierre Blanchar et Robert Le Vigan, a work of Luigi pirandello which had already been made into a film by Marcel L’Herbie; La Maison du Maltais with Viviane Romance, Marcel Dalio and Louis Jouvet, which find in L’Alibi together with Erich von Stroheim and Jany Holt.

Finally, the filmmaker conducts Fernand Gravey in Le dernier tournant, the first of the film adaptations of the novel the postman always rings twice by James M. cain, Michel Simon and Corinne Luchaire.

At the last moment, just before the German invasion of Vichy-free zone Laurentian flees France to escape the anti-Jewish raids carried out forces Nazi with the help of the collaborators. Rather than go to Hollywood as had other fugitives filmmakers, he traveled to Buenos Aires. He arrived in July 1942 in vessel Cape of good hope, even though I didn’t have any contact in Argentina and even spoke Spanish.

Barely arribado Luis saslavski, an Argentine film director connoisseur of widespread French culture between that time Argentine intellectuals and artists visit and it surprises with the news that all of his films had been exhibited in a Cine-Arte of the city. It is through their fan it relates to their early producers.

In 1986 Laurentian recalled his trip to Buenos Aires:

“I was my intention to film the witches, the death of Georges Rodenbach novel when the war broke out and I was put under flag.” I was then discharged on the French Riviera, in 1941. One day, against nazi anti-Semitism and the fact that Germans entered the free zone, was lucky to take the last train started towards Barcelona. My ex-wife, Florence, had achieved the Argentina visa. But when he arrived in Buenos Aires they left not landed and was sent to Bolivia. I left Marseille in the last ship sailed to America. I arrived in Buenos Aires without knowing what was going to do, and not speaking Spanish. I didn’t know if there were studies, even if there was an Argentine cinema. I was desperate, without money and without knowing where it was my wife. Ready to die, I I installed at the Alvear Palace Hotel. If I was going to commit suicide, at least that wasn’t in a miserable hotel. Three days, someone calls to the door: was Luis Saslavsky. He knew my films and offered to introduce myself in Asociados… There was I, in this fabulous city so rich all abounded and in which three days offered me head, while in France around the world died of hunger. and I who had thought of kill myself!.[ 1 ]

At the same time located at Florence Marly, his wife from the authorities. She had been seriously ill in Bolivia, by height, and when they met was very thin.

In its first phase in the Argentina from 1944 to 1946, the work of Laurentian is a total break with Europe: are four strictly Argentine films. Initially Laurentian was hired by Artists Argentinos partners, a movie company that had been created only a year before his arrival in Buenos Aires and she wanted to work in a cooperative manner. The film was based on the novel by Miguel de Unamuno nothing less than a man and the script was commissioned to Homero manzi and ulyses murat petit. Original work was a story of passions imbued with romanticism in which the writers found several pitfalls for transfer to film. The main character in the novel, whose characterization as “all a man” by Unamuno related title, had an ambiguous attitude towards the relationship his wife maintained with a third party which sought.

When the writers ended his work and was reading emerged a strong entredicho with Laurentian. The director argued that the film should show unequivocally that the wife had handed over to the harasser: according to him the greatness of the character was to be tricked and forgive. The writers opposed stating that the character was “all a man” precisely because it was able to continue loving despite the suspicions about his conduct. Discussion rose tone, the meeting broke up and seemed the project as it was conceived abortaba.

The next day there were new meetings and modified the script. For the writers were changes without importance, while the director saw as fundamental, thereby understanding left everyone satisfied. The film was Francisco petrone and Amelia bence as first figures and was a success. Stayed eight weeks in the premiere rooms and received praise from critics of film as director and actors.

Pierre Chenal devised plot of a movie thriller, then called the dead missing your appointment, and partners commissioned the script two authors. He was collaborating in criticism and News graphics newspapers and had already plays and screenplays reaching an equivalent pair Manzi-Petit Murat renowned Sixto Pondal rivers and Nicolás olivari, (the latter published many years later an essay titled, Sixto Pondal rivers). The film is suspended but not devoid of humor and is about a young procuratorial due to an accident in the seems to killing a cyclist while driving drunk. The first actors were Guillermo battaglia, Nélida Bilbao and Angel Magaña. The music was Lucio demare, who chose the piece “Poor Butterfly” of lionel hampton at that time was fashionable and director linked with skill to the film in an outlet is a butterfly star against a car radiator among other topics.

Critic Raymond Calcagno (Calki) said of the film that “driving the surprise, the mystery and suspense – as in Hitchcock’s suspicion, but with greater ameneidad – Laurentian moves the threads of the plot with consummate mastery.” [“Its realization, beating the subject is impeccable” and [Sunday Di Núbila]] synthesized “The best police comedy of Argentine cinema” until then.[ 2 ] Should be added as curiosity that years later Juan Antonio bardem, who knew the dead misses the appointment through Laurentian, directed film the death of a cyclist with a similar argument.

Subsequently Laurentian shoots two other films for Argentina Sono Film Producer: opens the chasm, considered his best Argentine film with trip without return that has as main performers his wife and Sebastián chiola and Silvana Roth.

On his return to France his first works were La Foire aux chimères with Madeleine Sologne and the comedy Clochemerle Saturnin Fabre and mingitorios very annoying public receive a host tibia. Pierre Chenal back then to Buenos Aires to make blood black the first adaptation of the novel are Native American of color Richard Wright, who also plays the main role.

The filmmaker then crosses the Andes for filming in the seaside town of Viña del Mar The idol, first film police Chilean, with his wife, which divorced in 1955, and Alberto closas as protagonists; later, confessions at dawn with Lautaro murúa. In 1956, directed the franco-argentina co-production Section des disparus, with Nicole Ashley in the role of the loathsome wife young Maurice Ronet.

Laurentian returned to France where made six films excellent invoice; Rafles sur la ville with Marcel Mouloudji police and La Bête à l’affût with Henri Vidal, a time Les nuits raspoutine film and a comedy L’Assassin connaît la musique… with excellent Paul Meurisse. In 1969 he directs his last feature film, Les libertines with Robert Hossein and 1976 filmed a short film.

In 1985 he received the special award for lifetime achievement awarded by the Internazionale Giallo Festival and the Mistero di Catholic and 23 December 1990 he died in the vicinity of Paris.

Filmography

* Short films.

o Les petits métiers Paris (1932).

o Pour piano played by Gilles (1932).

o A moderne illustre (1931).

o Trois workshops (1930).

o Bâtir (1930).

o Architecture d’aujourd ‘ hui (1930).

o Une cité du cinéma (1929).

o Coup de dés played by Edmond T. Greville (1928).

o Paris cinéma assisted by Jean Mitry (1927).

* As director

o Le hasard mène le jeu (1985).

o Les libertines or Les belles au bois dormantes (1969). In Spanish The fine.

o L’assassin connaît la musique (1963). English The Murderer Knows the Store.

o Les nuits Raspoutine (1960). English nights of rasputin

o Bête à l’affût (1959). English Beast at Bay.

o Les jeux dangereux (1958). English dangerous games.

o Rafles sur la ville (1958). English sinners of Paris.

o Missing persons section (1956). In French Section des disparus.

o Confessions at dawn (1954). English Confession at Dawn.

o Idol (1952).

o Black blood (1951). English native Son.

o Clochemerle (1948) according to the work of Gabriel Chevallier. Online scandals of Clochemerle.

o Foire aux chimères (1946). English Devil and the Angel.

o Journey without return (1946).

o The dead needed to quote (1944). In English The Corpse Breaks to give you

o Opens the abyss (1944).

o A man (1943). In English A Real Man.

o Le dernier tournant (1939). In English the last turn.

o The Maison du Maltais (1938). English Sirocco.

o L’affaire Lafarge (1938). In English the lafarge Case.