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snow-covered landscapes of the Alps. He employed elaborate editing techniques and innovative use of rapid cutting which made the film highly influential among other contemporary directors. The finished film was originally in 32 reels and ran for nearly nine hours, but it was subsequently edited down for distribution. A modern reconstruction from five different versions, available on DVD, is nearly four and a half hours long, and an almost seven hours long restored version was shown at the 2019
33:
192:
985:. (Lausanne: Editions l'Age d'Homme, 1983) p. 329. Gance later said that he left after an unwelcome proposal that he should film in Berlin, but there is evidence that he was already exploring the possibility of film-making in Spain. In a letter of August 1944, however, he said that he had felt stifled by the difficulties that the German authorities put in his way and the enmity of the leaders of the film industry.
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411:. Only the first part was completed, tracing Bonaparte's early life, through the Revolution, and up to the invasion of Italy, but even this occupied a vast canvas with meticulously recreated historical scenes and scores of characters. The film was full of experimental techniques, combining rapid cutting, hand-held cameras, superimposition of images, and, in wide-screen sequences, shot using a system he called
491:, which he saw as an allegory of the current state of France and a message of hope directed to the ordinary French people in their time of misfortune. That year, Gance was denounced as a Jew, and was trying to get his name removed from the list of non-aryens forbidden to practice their profession. At the feat of pursuing his work, Gance complied with the Vichy government and was among those who saw
420:. The length was reduced still further for French and European distribution, and it became even shorter when it was shown in America. This was not the end of the film's career however. Gance re-used material from it in later films, and the restoration of the silent film at the beginning of the 1980s confirmed it as his best known work.
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hand-held, mounted on wires or a pendulum, or even strapped to a horse. He also made early experiments with the addition of sound to film, and with filming in colour and in 3-D. There were few aspects of film technique that he did not seek to incorporate in his work, and his influence was acknowledged by contemporaries such as
434:(1931), an expensive science-fiction film (first planned in 1913/14) about the imminent collision of a comet with the Earth. Gance himself played the leading role. The film was a critical and commercial disaster, and thereafter the creative independence which Gance had enjoyed in the previous decade was seriously curtailed.
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Gance continued to be a busy film-maker throughout the 1930s, but he characterised most of the films made during this period as ones that he did "not in order to live, but in order not to die". In 1932 he tried to demonstrate his credentials as a reliable and efficient director by filming a remake of
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One thing that has always been acknowledged is Gance's innovations in the techniques of the cinema. As well as his multiscreen ventures with
Polyvision, he explored the use of superimposition of images, extreme close-ups, and fast rhythmic editing, and he made the camera mobile in unorthodox ways â
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In 1917, Gance was finally drafted into the army, in its
Service Cinématographique, an episode which proved futile and short-lived, but it deepened his preoccupation with the impact of the war and the depression which was caused by the deaths of many of his friends. When he parted company with Film
207:
Although he later fabricated the history of a brilliant school career and middle-class background, Gance left school at the age of 14, and the love of literature and art which sustained him throughout his life was in part the result of self-education. He started working as a clerk in a solicitor's
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in the early years of World War II, and subsequently for
Charles de Gaulle in the 1960s. Others have regarded these political interpretations as secondary to Gance's mastery of exuberant spectacle, which frequently had a nationalistic focus. As one obituary concluded, "Abel Gance was perhaps the
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needing triple cameras (and projectors), achieved a spectacular panoramic effect, including a finale in which the outer two film panels were tinted blue and red, creating a widescreen image of a French flag. The original version of the film ran for around 6 hours. A shortened version received a
328:
created some arresting visual effects with distorting mirrors. The producers were outraged and refused to show the film. Gance nevertheless continued working for Film d'Art until 1918, making over a dozen commercially successful films. His experiments included tracking shots, extreme close-ups,
285:
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was also seriously ill (and died soon after completion of the film). Nevertheless, Gance brought an unprecedented level of energy and imagination to the technical realisation of his story, set firstly against the dark and grimy background of locomotives and railway yards, and then among the
199:
Born in Paris in 1889, Abel Gance was the illegitimate son of a prosperous doctor, Abel
Flamant, and a working-class mother, Françoise Péréthon (or Perthon). Initially taking his mother's name, he was brought up until the age of eight by his maternal grandparents in the coal-mining town of
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359:(1919), in which Gance confronted the waste and suffering which the war had brought. He re-enlisted in the Service Cinématographique in order to be able to film some scenes on a real battlefield at the front. The film made a powerful impact and went on to have international distribution.
290:
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Abel Gance married three times: in 1912 to
Mathilde Thizeau; in 1922 to Marguerite Danis (sister of Ida); and in 1933 to Marie-Odette Vérité (Sylvie Grenade), who died in 1978. Gance died of tuberculosis in Paris in 1981 at the age of 92. Abel Gance was interred in the
544:, often editing his own footage into shorter versions, adding a soundtrack, sometimes filming new material, and as a result the original 1927 film was lost from view for decades. After various attempts at reconstruction, the dedicated work of the film historian
287:
260:. During this period he was diagnosed with tuberculosis, often fatal at that time, but after a period of retreat in Vittel he recovered. With some friends, he established a production company, Le Film Français, and began directing his own films in 1911 with
608:
in 1927 saw greater ambivalence, and some commentators even judged it to be an apologia for dictatorship. This strand of criticism of Gance's reactionary politics has continued through later assessments of him; it has also noted his ardent support for
552:
in August 1979, with the frail 89-year-old director in attendance. The occasion brought a belated triumph to Gance's career, and subsequent performances and further restoration made his name known to a worldwide audience.
345:, another marital drama featuring Emmy Lynn. Here Gance's mastery of lighting, composition and editing was accompanied by a range of literary and artistic references which some critics found pretentious and alienating.
165:; 25 October 1889 – 10 November 1981) was a French film director, producer, writer and actor. A pioneer in the theory and practice of montage, he is best known for three major silent films:
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Another aspect of Gance's work which has drawn comment from critics is the political stance and implication of his life and films, particularly his identification with strong military leaders. Whereas
368:, while recuperating in Nice from Spanish flu, and its progress was deeply affected by the knowledge that his companion Ida Danis was dying of tuberculosis; furthermore, his leading man and friend
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Gance wanted himself to be seen as "the Victor Hugo of the screen", and many assessments have recognised the ambition, the ingenuity and the sweeping romanticism of his films. Some, such as
256:. At that stage, he regarded the cinema as "infantile and stupid" and was only drawn into film jobs by his poverty, but he nevertheless continued to write scenarios, and often sold them to
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in the 1920s, have pointed to the contradictions in his work between creativity and cliché, the "abundance of original treasures and of banal mediocrity and of poor taste".
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in central France. He then returned to Paris to rejoin his mother, who had by then married
Adolphe Gance, a chauffeur and mechanic, whose name Abel then adopted.
505:, Gance eventually fled to Spain in August 1943, citing growing hostility from the German authorities in France, and he remained there until October 1945.
468:(1938), not so much a remake of his 1919 film as a continuation of it, and conceived as a warning against the new war that he saw impending. His next film
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produced a five-hour version of the film, still incomplete but fuller than anyone had seen since the 1920s. This version was presented at the
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low-angle shots, and split-screen images. His subjects moved steadily away from simple action films towards psychological melodramas, such as
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After the war, his difficulties in getting support for his projects increased, and thus he made few films. The historical melodrama
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as a neglected wife who has an affair with her husband's brother. The film was a great commercial success, and it was followed by
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office, but after a couple of years he turned to acting in the theatre. When he was 18, he was given a season's contract at the
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had its first screening in Vichy, preceded by a speech in which Gance paid tribute to PĂ©tain. After completing one more film,
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307:, Gance was rejected by the army on medical grounds, and in 1915 he started writing and directing for a new film company,
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triumphant premiÚre at the Paris Opéra in April 1927 before a distinguished audience that included the future
General
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512:(1954) was his first film in colour, and it provoked some revival of interest in his work, with critics such as
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946:), 2000. pp. 81â87. ("...Films de gagne-pain, que j'ai dĂ» rĂ©aliser non-pour vivre, mais pour ne pas mourir!") .
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270:. Gance tried to maintain a connection with the theatre and he finished writing a monumental tragedy entitled
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which he completed within 18 days and within budget. Among the other 'commercial' works that followed were
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would star. Its five-hour length, and Gance's refusal to cut it, proved to be a stumbling block.
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535:(1963), before moving into television for his final works, also on historical subjects.
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462:. One of the more personal projects that he was able to undertake was a new version of
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in 1919 suggested Gance's pacifist and anti-establishment attitude, the reactions to
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film-makers. In the assessment of Kevin
Brownlow, "...with his silent productions,
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Gance embraced the arrival of sound with enthusiasm, and his first production was
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672:, v. 1, 1895â1940; ed. John Wakeman. (New York: H.W. Wilson, 1987.) pp. 371â385.
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While in
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1024:. (Paris, Flammarion, 1962) p.29: "devenir le Victor Hugo de l'Ă©cran".
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266:, a historical film which featured the first screen appearance of
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895:. (London: British Film Institute, 1984) p. 239. Kevin Brownlow,
597:, made a fuller use of the medium than anyone before or since".
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388:, whom he had long admired. He was also offered a contract with
1110:(London), Thursday 12 November 1981; p. 14; Issue 61080; col G.
1063:. (Princeton University Press, 1984). p. 351. Kevin Brownlow,
252:. Back in Paris in 1909, he acted in his first film, Perret's
1204:
405:, Gance embarked on his greatest project, a six-part life of
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64:
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as the means of the country's salvation. In
September 1941
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in Brussels, where he developed friendships with the actor
1037:, ed. Jean-Loup Passek. (Paris, Larousse, 1987) p. 164.
802:. (Lausanne: Editions l'Age d'Homme, 1983) pp. 129â130.
668:. (Lausanne: Editions l'Age d'Homme, 1983), quoted in
750:. (Lausanne: Editions l'Age d'Homme, 1983) pp. 77â78.
685:. (Lausanne: Editions l'Age d'Homme, 1983) pp. 11â16.
1097:. (London: British Film Institute, 1984) pp. 30â49.
998:. (New York: Simon & Schuster, 1978) pp. 33â35.
478:, proved successful when it was released after the
959:. (Lausanne: Editions l'Age d'Homme, 1983) p. 242.
776:. (Lausanne: Editions l'Age d'Homme, 1983) p. 103.
1126:Miss Pyrénées-Orientales élue Miss France en 1938
912:. (Lausanne: Editions l'Age d'Homme, 1983) p. 51.
737:. (Lausanne: Editions l'Age d'Homme, 1983) p. 55.
529:(1960), and made a further historical pageant in
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1093:are presented, in translation, in: Norman King,
972:. (London: British Film Institute, 1984) p. 171.
324:, a comic fantasy in which he and his cameraman
925:. (London: British Film Institute, 1984) p. 51.
936:"Abel Gance, auteur et ses films alimentaires"
1536:
1220:
1142:Joël Daire, introduction to the article: The
815:. (Princeton University Press, 1984). p. 327.
485:Gance then filmed a popular melodrama called
392:to work in Hollywood, but he turned it down.
1089:Contemporary articles by LĂ©on Moussinac and
763:. (Princeton University Press, 1984). p. 90.
538:Throughout his life Gance kept returning to
523:Gance returned to Napoleonic spectacle with
1011:. (Lausanne: Editions l'Age d'Homme, 1983).
362:In 1920, Gance developed his next project,
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994:François Truffaut, "La Tour de Nesle", in
380:In 1921, Gance visited America to promote
31:
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629:He was also a member of the jury for the
516:making the case for Gance as a neglected
622:Abel Gance was a member of the jury for
353:stepped in to underwrite his next film,
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227:
190:
1124:Vieux papiers des Pyrénées-Orientales,
1061:French Cinema: the First Wave 1915â1929
813:French Cinema: the First Wave 1915â1929
761:French Cinema: the First Wave 1915â1929
140: 1933; died 1978)
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789:(London: Columbus, 1989), pp. 531â537.
2518:20th-century deaths from tuberculosis
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263:La Digue (ou Pour sauver la Hollande)
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1009:Abel Gance, ou le Prométhée foudroyé
983:Abel Gance, ou le Prométhée foudroyé
957:Abel Gance, ou le Prométhée foudroyé
910:Abel Gance, ou le Prométhée foudroyé
800:Abel Gance, ou le Prométhée foudroyé
774:Abel Gance, ou le Prométhée foudroyé
748:Abel Gance, ou le Prométhée foudroyé
735:Abel Gance, ou le Prométhée foudroyé
683:Abel Gance, ou le Prométhée foudroyé
666:Abel Gance, ou le Prométhée foudroyé
384:. During his five-month stay he met
240:(1912) written by Gance. Collection
127:Sylvie Grenade (Marie Odette Vérité)
1095:Abel Gance: a politics of spectacle
970:Abel Gance: a politics of spectacle
923:Abel Gance: a politics of spectacle
893:Abel Gance: a politics of spectacle
13:
614:greatest Romantic of the screen".
318:. He soon caused controversy with
14:
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1080:(London: Columbus, 1989), p. 518.
1067:(London: Columbus, 1989), p. 518.
1050:(London: Columbus, 1989), p. 532.
899:(London: Columbus, 1989), p. 563.
882:(London: Columbus, 1989), p. 539.
724:(London: Columbus, 1989), p. 523.
711:(London: Columbus, 1989), p. 522.
698:(London: Columbus, 1989), p. 521.
395:After a brief change of pace for
120: 1922, divorced)
95:Director, producer, writer, actor
16:French film director and producer
349:d'Art over a shortage of funds,
2538:20th-century French male actors
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1035:Dictionnaire du cinéma français
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1022:Le CinĂ©ma français (1890â1962)
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242:EYE Film Institute Netherlands
238:Le tragique amour de Mona Lisa
163:Abel EugÚne Alexandre Péréthon
51:Abel EugÚne Alexandre Péréthon
1:
2533:Tuberculosis deaths in France
1165:Journal of Film Preservation,
1148:Journal of Film Preservation,
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1198:Abel Gance, nouveaux regards
944:Abel Gance, nouveaux regards
7:
455:Un Grand Amour de Beethoven
10:
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2010:Merchant Ivory Productions
1284:Un drame au chĂąteau d'Acre
1146:Comet by Georges Mourier,
1106:Obituary of Abel Gance in
850:"La Roue â Manifestations"
644:
401:(1924), a comic film with
1969:
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1396:The Lady of the Camellias
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631:1953 Cannes Film Festival
274:, in which he hoped that
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46:
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1276:La Folie du Docteur Tube
854:www.festival-lumiere.org
474:, a melodrama about the
321:La Folie du docteur Tube
296:La Folie du Docteur Tube
2508:French male film actors
617:
550:Telluride Film Festival
103:Mathilde AngĂšle Thizeau
2523:French cinema pioneers
2498:Male actors from Paris
1552:BAFTA Fellowship Award
1420:Beethoven's Great Love
1316:The Torture of Silence
647:Abel Gance filmography
300:
272:Victoire de Samothrace
245:
196:
2503:French film directors
1492:Cyrano and d'Artagnan
1159:Georges Mourier, The
830:"New DVDs: 'La Roue'"
502:Le Capitaine Fracasse
375:LumiĂšre Film Festival
303:With the outbreak of
293:
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210:Théùtre Royal du Parc
194:
1699:Richard Attenborough
1583:Grace Wyndham Goldie
1078:The Parade's Gone By
1065:The Parade's Gone By
1048:The Parade's Gone By
996:The Films in my Life
897:The Parade's Gone By
880:The Parade's Gone By
787:The Parade's Gone By
722:The Parade's Gone By
709:The Parade's Gone By
696:The Parade's Gone By
670:World Film Directors
532:Cyrano et d'Artagnan
342:La DixiĂšme Symphonie
236:for the silent film
1122:Fabricio Cardenas,
559:CimetiĂšre d'Auteuil
2372:Thelma Schoonmaker
1683:Emeric Pressburger
1655:David Attenborough
1340:The Tenth Symphony
1268:The Mask of Horror
860:on 1 February 2020
835:The New York Times
326:LĂ©once-Henri Burel
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195:Abel Gance in 1924
37:Abel Gance by the
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1308:Le droit Ă la vie
1129:, 7 decembre 2014
581:and later by the
514:François Truffaut
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856:. Archived from
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624:Miss France 1938
510:La Tour de Nesle
450:Edwige FeuillĂšre
335:(1917) starring
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234:CĂąndido de Faria
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107:Marguerite Danis
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76:10 November 1981
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476:First World War
445:Lucrezia Borgia
431:La Fin du monde
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216:and the writer
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828:(6 May 2008).
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546:Kevin Brownlow
480:Fall of France
440:Mater dolorosa
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332:Mater dolorosa
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2018:Andrew Davies
2015:
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2002:Warren Beatty
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1007:Roger Icart,
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984:
981:Roger Icart,
978:
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968:Norman King,
965:
958:
955:Roger Icart,
952:
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937:
934:Roger Icart,
931:
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921:Norman King,
918:
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908:Roger Icart,
905:
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891:Norman King,
888:
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859:
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798:Roger Icart,
795:
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772:Roger Icart,
769:
762:
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746:Roger Icart,
743:
736:
733:Roger Icart,
730:
723:
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684:
681:Roger Icart,
678:
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664:Roger Icart,
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497:VĂ©nus aveugle
494:
490:
489:
488:VĂ©nus aveugle
483:
481:
477:
473:
472:
471:Paradis perdu
467:
466:
461:
458:(1937), with
457:
456:
451:
448:(1935), with
447:
446:
441:
435:
433:
432:
421:
419:
414:
410:
409:
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400:
399:
393:
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387:
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378:
376:
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367:
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358:
357:
352:
351:Charles Pathé
346:
344:
343:
338:
334:
333:
327:
323:
322:
315:
310:
309:Le Film d'art
306:
298:
297:
279:
277:
273:
269:
268:Pierre Renoir
265:
264:
259:
255:
251:
250:LĂ©once Perret
243:
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230:
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193:
184:
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176:
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102:
98:
94:
92:Occupation(s)
90:
85:
75:
71:
66:
49:
45:
40:
34:
29:
22:
19:
2428:Sandy Powell
2396:Hideo Kojima
2348:Ridley Scott
2324:Alan Simpson
2312:John Carmack
2288:David Braben
2256:Helen Mirren
2221:
2182:Melvyn Bragg
2050:John Boorman
1970:2001âpresent
1907:Sean Connery
1851:Maggie Smith
1835:Ronald Neame
1819:Billy Wilder
1779:John Gielgud
1670:
1623:Denis Forman
1490:
1482:
1474:
1466:
1458:
1450:
1442:
1434:
1426:
1418:
1410:
1402:
1394:
1386:
1378:
1370:
1362:
1354:
1346:
1338:
1330:
1322:
1314:
1306:
1298:
1292:Le périscope
1290:
1282:
1274:
1266:
1258:
1235:
1197:
1193:
1167:
1164:
1160:
1150:
1147:
1143:
1137:Bibliography
1125:
1115:
1107:
1102:
1094:
1085:
1077:
1072:
1064:
1060:
1055:
1047:
1042:
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982:
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951:
943:
939:
930:
922:
917:
909:
904:
896:
892:
887:
879:
874:
862:. Retrieved
858:the original
853:
844:
833:
820:
812:
807:
799:
794:
786:
781:
773:
768:
760:
755:
747:
742:
734:
729:
721:
716:
708:
703:
695:
690:
682:
677:
669:
665:
660:
635:Jean Cocteau
628:
621:
605:
601:
599:
594:
590:
586:
579:Jean Epstein
575:
568:
555:
539:
537:
530:
524:
522:
517:
509:
507:
500:
496:
486:
484:
469:
463:
453:
443:
439:
436:
429:
427:
406:
396:
394:
381:
379:
370:SĂ©verin-Mars
363:
361:
354:
347:
340:
330:
319:
302:
294:
271:
261:
253:
247:
237:
224:Silent films
206:
198:
178:
177:(1923), and
172:
166:
162:
149:
148:
78:(1981-11-10)
18:
2493:1981 deaths
2488:1889 births
2356:Tim Schafer
2240:Gabe Newell
2232:Alan Parker
2223:Rolf Harris
2138:Dawn French
2114:Will Wright
2074:David Frost
2058:Roger Graef
2042:David Jason
2034:Saul Zaentz
1915:Bill Cotton
1859:Woody Allen
1803:Colin Young
1771:Louis Malle
1715:Sam Spiegel
1707:Hugh Greene
1663:John Huston
1647:Huw Wheldon
1364:Au Secours!
1324:Barberousse
1245:Filmography
1201:(In French)
1170:April 2012
1153:April 2012
1120:(in French)
641:Filmography
520:of genius.
424:Sound films
398:Au Secours!
312: [
305:World War I
2483:Abel Gance
2477:Categories
2444:Meera Syal
2332:Mel Brooks
2320:Ray Galton
2280:Mike Leigh
2066:John Barry
2026:John Mills
1994:Judi Dench
1927:Ernie Wise
1899:David Rose
1671:Abel Gance
1591:David Lean
1510:Polyvision
1484:Austerlitz
1236:Abel Gance
1184:Abel Gance
1033:Quoted in
864:4 December
652:References
565:Reputation
561:in Paris.
526:Austerlitz
460:Harry Baur
413:Polyvision
403:Max Linder
232:Poster by
187:Early life
150:Abel Gance
57:1889-10-25
25:Abel Gance
2364:Kate Adie
2090:Ken Loach
1986:John Thaw
1639:Lew Grade
1559:1971â2000
1436:J'accuse!
1196:: no.31:
1108:The Times
942:, n°31, (
826:Dave Kehr
482:in 1940.
465:J'accuse!
418:de Gaulle
337:Emmy Lynn
202:Commentry
100:Spouse(s)
2296:Jon Snow
1763:Paul Fox
1372:Napoléon
1348:J'accuse
1260:La Digue
1161:Napoleon
1144:Napoleon
606:Napoléon
602:J'accuse
595:Napoléon
587:J'accuse
541:Napoléon
408:Napoléon
382:J'accuse
356:J'accuse
183:(1927).
180:Napoléon
171:(1919),
168:J'accuse
86:, France
67:, France
2404:Ang Lee
1404:Poliche
1356:La Roue
1163:Comet,
633:, with
591:La Roue
365:La Roue
258:Gaumont
254:MoliĂšre
174:La Roue
161:; born
154:French:
142:
134:
130:
122:
114:
110:
2462:(2024)
2454:(2024)
2446:(2023)
2438:(2023)
2430:(2023)
2422:(2022)
2414:(2021)
2406:(2021)
2398:(2020)
2390:(2020)
2382:(2019)
2374:(2019)
2366:(2018)
2358:(2018)
2350:(2018)
2342:(2017)
2334:(2017)
2326:(2016)
2322:&
2314:(2016)
2306:(2016)
2298:(2015)
2290:(2015)
2282:(2015)
2274:(2014)
2266:(2014)
2258:(2014)
2250:(2013)
2242:(2013)
2234:(2013)
2226:(2012)
2216:(2012)
2208:(2011)
2200:(2011)
2192:(2011)
2184:(2010)
2176:(2010)
2168:(2010)
2160:(2009)
2152:(2009)
2144:(2009)
2140:&
2132:(2008)
2124:(2008)
2116:(2007)
2108:(2007)
2100:(2007)
2092:(2006)
2084:(2006)
2076:(2005)
2068:(2005)
2060:(2004)
2052:(2004)
2044:(2003)
2036:(2003)
2028:(2002)
2020:(2002)
2012:(2002)
2004:(2002)
1996:(2001)
1988:(2001)
1980:(2001)
1961:(2000)
1953:(2000)
1945:(2000)
1937:(1999)
1929:(1999)
1925:&
1917:(1998)
1909:(1998)
1901:(1997)
1893:(1997)
1885:(1997)
1877:(1997)
1869:(1997)
1861:(1997)
1853:(1996)
1845:(1996)
1837:(1996)
1829:(1996)
1821:(1995)
1813:(1994)
1805:(1993)
1797:(1993)
1789:(1992)
1781:(1992)
1773:(1991)
1765:(1990)
1757:(1989)
1749:(1988)
1741:(1987)
1733:(1986)
1725:(1985)
1717:(1984)
1709:(1984)
1701:(1983)
1693:(1982)
1685:(1981)
1681:&
1673:(1981)
1665:(1980)
1657:(1980)
1649:(1979)
1641:(1979)
1633:(1978)
1625:(1977)
1617:(1976)
1609:(1976)
1601:(1975)
1593:(1974)
1585:(1973)
1577:(1972)
1569:(1971)
1495:(1964)
1487:(1960)
1479:(1955)
1471:(1943)
1463:(1941)
1455:(1940)
1447:(1939)
1444:Louise
1439:(1938)
1431:(1938)
1423:(1936)
1415:(1935)
1407:(1934)
1399:(1934)
1391:(1933)
1383:(1931)
1375:(1927)
1367:(1924)
1359:(1923)
1351:(1919)
1343:(1918)
1335:(1917)
1327:(1917)
1319:(1917)
1311:(1917)
1303:(1916)
1295:(1916)
1287:(1915)
1279:(1915)
1271:(1912)
1263:(1911)
611:PĂ©tain
593:, and
518:auteur
452:, and
299:(1915)
41:(1957)
938:, in
316:]
136:(
132:
116:(
112:
84:Paris
65:Paris
1194:1895
1188:IMDb
940:1895
866:2019
618:Jury
73:Died
47:Born
1186:at
1168:86,
1151:86,
390:MGM
2479::
852:.
832:.
626:.
589:,
377:.
314:fr
220:.
138:m.
118:m.
1544:e
1537:t
1530:v
1228:e
1221:t
1214:v
1173:.
1156:.
868:.
838:.
244:.
152:(
59:)
55:(
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