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Jean-Pierre Melville, eigentlich Jean-Pierre Grumbach, war ein französischer Filmregisseur und Drehbuchautor. Jean-Pierre Melville, eigentlich Jean-Pierre Grumbach, (* Oktober in Paris; † 2. August ebenda) war ein französischer Filmregisseur und. Der Meister der Unterwelt Jean-Pierre Melvilles beeindruckendes Oeuvre ist geprägt von Verbrechen und Betrug, Arbeit und Alltag, Freundschaft und der Stadt. norrbottensveckan.se - Kaufen Sie Jean-Pierre Melville (th Anniversary Edition) günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden. von Ergebnissen oder Vorschlägen für "Jean-Pierre Melville". Überspringen und zu Haupt-Suchergebnisse gehen. Amazon Prime. GRATIS-Versand.
Er drehte zwischen 19nur 13 Spielfilme, aber die hatten es in sich! Jean-Pierre Melville, in Paris als Jean-Pierre Grumbach geboren, bekam bereits. Kino der Nacht: Gespräche mit Jean-Pierre Melville (German Edition) [Nogueira, Rui, Schlöndorff, Volker, Fischer, Robert, Melville, Jean-Pierre, Labro, Philippe]. Jean-Pierre Melville (–), Wegbereiter und spiritueller Vater der Nouvelle Vague, gilt als Meister der Kinosprache, für den das Kino etwas Heiliges war.
It is the countersign to a realm of men and their deeds, both heroic and villainous. It is the American novel, with its Ishmaels and its Claggarts a challenge to the European canon.
It is Herman Melville. And yet, for over three decades, it was also worn by one of the French cinema's brightest lights, Jean-Pierre Melville, whose art was as revolutionary as that of the eponymous author.
In his youth he studied in Paris, where he was first exposed to great films, among them Robert J. Flaherty 's and W.
It left so deep a mark upon the pubescent Grumbach that he became a regular at the cinema, an obsession that would benefit him in adulthood.
His own earliest efforts, 16mm home movies, were made with a camera given to him by his father in this period.
In , however, his career was forestalled when he began obligatory service in the French army. He was still in uniform when the Nazis invaded in ; under the nom de guerre of Melville, he aided the Resistance and was eventually forced to flee to England.
There he joined the Free French forces and took part in the Allies' liberation of continental Europe.
After the war, despite a desire to revert to Grumbach, he found that pseudonym had stuck. Eager to earn his place in the movie industry, Melville applied to the French Technicians' Union but was denied membership.
Undaunted by what he regarded as party politics, he set up his own production company in and started releasing films outside the system.
The first, a low-budget short titled 24 heures de la vie d'un clown , was a success, inspired by his boyhood love for the circus.
His feature-length debut, Le Silence de la Mer , was highly innovative. An intimate piece on the horrors of World War II, it starred unknown actors and was filmed by a skeleton crew.
Its schedule was unusual: It was shot over 27 days in the course of a year. Its production was unusual: it incorporated "on-location" scenes--rarities in that era--done without vital permits.
Its provenance was unusual: it was adapted from a book before the author's consent was obtained. Above all, its style was unusual.
Over the following 12 years Melville continued to create films that would influence the auteurs of La Nouvelle Vague i.
In he collaborated with Jean Cocteau on an unsatisfying version of Les Enfants Terribles , the tale of a strange, incestuous relationship between siblings.
Quand tu liras cette lettre , with French and Italian backing, was his first commercial project. While it was unprofitable, the fee he received allowed him to establish a studio outside of Paris.
His next work, Bob le Flambeur , featured Roger Duchesne , a popular leading man of the s who had drifted into the underworld during the war.
As such, he was a uniquely apt choice for the role of the fashionable, self-immolating Bob. His supporting cast included Daniel Cauchy as toadying sidekick Paolo and newcomer Isabelle Corey as the temptress Anne.
They adored the hip, new rendering of a tired scenario, much of it shot in the streets with hidden cameras. They viewed it as fresh and daring, a "freeing up" through the rejection of high-minded literary adaptations and the embracing of pop culture.
Simply put, Melville refused to play by the rules, and they followed suit. In retrospect, "Bob le flambeur" seems straightforward: A reformed mobster turned high-stakes gambler comes out of retirement to pull one last job.
Its genius lies in its simplicity. Melville admired American culture, as his alias indicated. He drove around Paris in an enormous Cadillac, sporting a Stetson hat and aviator sunglasses.
He drank Coca-Cola and listened to American radio. The works of American directors John Ford and Howard Hawks were appealing to him, as they were ageless sagas of heroes and villains.
Melville strove to build his own pantheon by blending the American ethos with his postwar sensibilities.
As he perceived it, it was America that had valiantly rescued France from German occupation. Still, for a young man with Alsatian roots, the line separating good guys and bad guys had been breached, and one can see this disillusionment from Le Silence de la Mer onward.
Thus, while he borrowed from the American noir's revolt against the dichotomous Hollywood creations of the s, the artist was forging his own apocryphal brand of dark tragedy.
In his paradigm, a criminal could be a kind of hero within his milieu, so long as he stuck by his word and his allegiances. It was his personal style and his adherence to the code of honor that defined a "good guy"; obversely, it was his faith in others that was his downfall.
It is a universe without the possibility for salvation, in which love and friendship are brief interludes in the cat-and-mouse games that lead to certain destruction.
Jean-Pierre Melville is often regarded as the godfather of the Nouvelle Vague. Nonetheless, it is worth mentioning that had it not been for his aforementioned passion for American film, he might have shown us a very different "Bob le flambeur".
Originally conceived as a hard-boiled gangster flick about the step-by-step plotting of a heist, Melville was forced to rethink its narrative after watching John Huston 's remarkably similar The Asphalt Jungle It was only then that he had the idea to turn Bob into the comedy of manners that so delighted the cinephiles of the day.
For this and other debts of gratitude, his next picture, Two Men in Manhattan , was "a love letter to New York" and the America he revered.
It was also his third straight box-office flop, however, and it caused Melville to break away from a New Wave movement that he felt catered to the cognoscenti.
He later said, "If. I have consented to pass for their adopted father for a while, I do not wish it anymore, and I have put some distance in between us.
Belmondo again headlined in "Le Doulous", not as a clergyman but as the fingerman Silien, whose loyalty to his old mob cronies entangles him in a web of intrigue and disaster.
Regardless, it was a critical and commercial success. A tribute to his literary hero, Hermann Melville, and his novel Pierre: or the Ambiguities , the director would have his name officially changed after the war.
The latter was to shape and inform many of his films and arguably all of his world-view, characterized by a sort of ethical cynicism where anti-fascism is understood as a moral duty rather than an act of heroic courage.
Profoundly anti-rhetoric and filled with a terse dignity, his films about the Resistance, Army of Shadows above all, exemplified his laconic resolve.
Very much like his devout love for cinema, Melville's poetic convictions were never declaimed but found their way into the very formal essence of his films.
Even the traits of a highly stylized genre like noir in his films are never explicit, on the contrary, they serve a narrative purpose that always exceeded the genre's purview.
Never predictable, let alone stereotypical, his cinema rather than borrowing the attributes of American hard-boiled literature and film, absorbed them.
The criminal milieu is in his films the stylistic sublimation of human relations that are always transactional, propelled by a self-interested melancholy leading to an existential dead-end.
The young director, one of the very first to work outside the established film industry in post-war France, found himself right at the heart of this transatlantic synergy.
His feature length debut, Le silence de la mer , is a literary adaptation of a short story by Vercors in whose house the film was shot.
The film is a tribute to the resolve of those who, far too few in Nazi-occupied Europe, refused to comply with the creeping normalization of brutality in the everyday.
Silence, usually associated with acquiescence, in Melville's film acquires a stoic quality voicing the repudiation of a political disease that cannot be possibly cured, only eliminated.
Two Men in Manhattan is the choreographic rendition of Melville's devotion for the American noir and the demonstration of his ability to make it his own avoiding prosy pastiches.
The first three years of the new decade will mark a turning point for the French director who had inspired the budding New Wavers from which he would borrow one of their leading actors, Jean-Paul Belmondo.
It's this decidedly atypical film set in Nazi-occupied France, in which echoes of Bresson are clearly audible, that grants Melville for the first time a wider audience, also thanks to the presence of Riva and Belmondo.
Technically, stylistically and poetically this film represents the first, perfectly rounded work where the filmmaker expresses his full directorial potential.
Suspense rhythmically rises in a montage of surgical finesse, the plot moves forward in layers sidestepping the narrative conventions of the genre while interlacing its own internal logic.
The final climax pulls all the loose strings together in an act of narrative bravura that denotes a cultivated talent the likes of which French cinema will seldom experience again.Ihrer Unbekümmertheit in Formfragen stand er jedoch skeptisch gegenüber. Im Namen des Gesetzes Serie mythbusters Uhr. Wie recht er hatte. Selbst der Kommissar befindet sich in diesem seltsamen Schicksalskreis, auch wenn er als believe, casablanca oldenburg opinion mit dem Leben davonkommt. Here Gastgeber wider Willen begegnen dem Offizier mit hartnäckigem Schweigen. Family Man.