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| Henri-Georges Clouzot |
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| Director
/ Screenwriter / Producer |
| 1907 - 1977 |
| Born November 20,
Niort, Deux-Sèvres, Poitou-Charentes, France |
| Key
Production Countries: France, Italy |
| Key Genres:
Psychological Thriller, Mystery, Crime Drama |
| Key
Collaborators:
Pierre Larquey (Leading Character Player), Armand Thirard
(Cinematographer), Charles Vanel (Leading Player), Jerome Geronimi
(Screenwriter), Vera Clouzot (Leading Player/Screenwriter), Noel Roquevert (Leading Character
Player), Georges Auric (Composer), Louis Seigner (Character Player),
Jean Brochard (Character Player), Madeleine Gug (Editor) |
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Highly Recommended: The
Wages of Fear (1952), Les Diaboliques (1955) |
| Recommended: The
Murderer Lives at Number 21 (1942), Le Corbeau (1943), Quai des Orfèvres
(1947) |
| Links: [
IMDB ]
[
TCMDB ] [ All-Movie
Guide ] [ Senses
of Cinema: Great Directors ] [
Film Reference ] [
American Cinematheque ] [
Clouzot's Cruel Crow: Le Corbeau ] [
Wikipedia ] [
Films de France ] |
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Books:
[
Henri-Georges Clouzot (French Film Directors)
] |
| DVD's:
[
Amazon
] |
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1,000 Greatest Films:
Quai des Orfèvres (1947), The Wages of
Fear (1952), Les Diaboliques (1955) |
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"Certainly
his output was much truncated by illness, but he has managed to
leave behind several black suspense thrillers which have hardly
a good character between them...But it was the early 1950s
before Clouzot conjured up the two films on which his reputation
largely rests. The first of these was the immensely successful
The Wages of Fear [the second was Les Diaboliques]." - David
Quinlan (Quinlan's Illustrated Guide to Film Directors, 1999) |
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"Henri-Georges
Clouzot began his career in Berlin in the early 1930s working as
as assistant director, making French versions of German
films...Clouzot was an excellent craftsman who wrote most of his
own scripts and plotted his suspenseful films long before
shooting them - qualities that have led some to compare him with
Hitchcock." -
(The Movie Book, 1999) |
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"Clouzot's
misanthropic movies are populated by characters who exhibit only
the basest instincts...Devoid of sentimentality, his sour
pessimism portrays people as predators and prey bent on
self-preservation; though everyone, as in
Renoir, has his reasons, the
motivation is at best primevally instinctive, at worst
malicious." - Geoff
Andrew (The Director's Vision, 1999) |
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"A master of suspense and violence with heavy psychological
overtones." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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