Holiday for Henrietta
Holiday for Henrietta is a 1952 French comedy film directed by Julien Duvivier, starring Dany Robin, Michel Auclair, Hildegard Knef. While urgently trying to develop a screenplay for a new film, two screenwriters make it up as they bicker along. Holiday for Henrietta was remade in English as the 1964 film Paris When It Sizzles, starring William Holden and Audrey Hepburn. Dany Robin as Henriette Michel Auclair as Marcel Hildegard Knef as Rita Solar Louis Seigner as script writer Micheline Francey as Nicole, script girl Henri Crémieux as script writer Michel Roux as Robert Daniel Ivernel as detective Odette Laure as Valentine Jeannette Batti as Gisèle Liliane Maigné as the cigarette girl Holiday for Henrietta on IMDb
I Am with You (film)
I Am with You is a 1943 French musical comedy film directed by Henri Decoin and starring Yvonne Printemps, Pierre Fresnay and Jacques Louvigny. The film's sets were designed by the art director Lucien Aguettand. Yvonne Printemps as Élisabeth & Irène Pierre Fresnay as François Jacques Louvigny as Le commissaire Jean Meyer as Armand Palau as Le contrôleur Luce Fabiole as Tante Ellen Denise Benoît as Irma André Valmy as Le gérant de l'hôtel Guita Karen as Madeleine André Varennes as Le général Robert Le Fort as Le violoniste Annette Poivre as La postière Henry Prestat as Le veilleur de nuit Henri de Livry as Le portier Paulette Dubost as La standardiste Bernard Blier as Robert Dayna Oscherwitz & MaryEllen Higgins; the A to Z of French Cinema. Scarecrow Press, 2009. I Am with You on IMDb
The French, They Are a Funny Race
The French, They Are a Funny Race — known in France as Les Carnets du Major Thompson and in the U. K. as The Diary of Major Thompson — is a 1955 comedy film written and directed by Preston Sturges, based on the novel by Pierre Daninos, starring Jack Buchanan and Martine Carol. This was the last film directed by Preston Sturges as well as the last film for actor Jack Buchanan before his death from spinal cancer on 20 October 1957. Major Thompson is a crusty, middle-aged English officer and widowed and living in Paris, who tries to adjust to the French way of life, he falls in love with frivolous but alluring Martine, marries her. The question is, will their child be raised as a proper Englishman, or a swinging Frenchman? Jack Buchanan as Maj. Thompson. Buchanan was dying of cancer at the time. Martine Carol as Martine Noël-Noël as M. Taupin Totti Truman Taylor as Miss Fyfyth, the nurse Catherine Boyl as Ursula André Luguet as M. Fusillard, the editor Geneviève Brunet as Secretary Paulette Dubost as Mme.
Taupin The film was based on a popular column by Pierre Daninos in Le Figaro. Daninos would write as fictitious English Major Marmaduke Thompson. Daninos turned these columns into a book The Notebooks of Major Thompson. Preston Sturges had come to Paris in hopes of reviving his career, which had hit the skids in Hollywood after his partnership with Howard Hughes dissolved in acrimony, he did some work on Broadway, wrote the screenplay for an adaptation of George Bernard Shaw's The Millionairess which Katharine Hepburn, who had performed in the play in New York, wanted to get produced, came to France where, because he was fluent in French, he was able to write and direct the screenplay for this adaptation of Pierre Daninos popular novel. Sturges wrote a script called Forty Million Frenchmen, about a French author who invents an English character who assumes a borrowed identity. However, Daninos published his novel with such success that Sturges was requested to write a version closer to that.
The movie was shot both in English using two crews. The film was released in France on 9 December 1955, but Sturges did some additional polishing of it for the American audience, it was not released in the United States until 20 May 1957, when it premiered in New York City, the final American opening of Sturges' film career; the movie was the 9th most popular film in France in 1956 but was not a hit in the US. Les Carnets du Major Thompson on IMDb The French, They Are a Funny Race at the TCM Movie Database The French, They Are a Funny Race at AllMovie
The Palais Garnier is a 1,979-seat opera house, built from 1861 to 1875 for the Paris Opera. It was called the Salle des Capucines, because of its location on the Boulevard des Capucines in the 9th arrondissement of Paris, but soon became known as the Palais Garnier, in recognition of its opulence and its architect, Charles Garnier; the theatre is often referred to as the Opéra Garnier and was known as the Opéra de Paris or the Opéra, as it was the primary home of the Paris Opera and its associated Paris Opera Ballet until 1989, when the Opéra Bastille opened at the Place de la Bastille. The Paris Opera now uses the Palais Garnier for ballet; the Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica." This is at least due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and the novel's subsequent adaptations in films and the popular 1986 musical.
Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one, "unquestionably a masterpiece of the first rank." This opinion is far from unanimous however: the 20th-century French architect Le Corbusier once described it as "a lying art" and contended that the "Garnier movement is a décor of the grave". The Palais Garnier houses the Bibliothèque-Musée de l'Opéra de Paris, although the Library-Museum is no longer managed by the Opera and is part of the Bibliothèque Nationale de France; the museum is included in unaccompanied tours of the Palais Garnier. The opera was constructed in what Charles Garnier is said to have told the Empress Eugenie was "Napoleon III" style The Napoleon III style was eclectic, borrowed from many historical sources; these were combined with axial symmetry and modern techniques and materials, including the use of an iron framework, pioneered in other Napoleon III buildings, including the Bibliotheque Nationale and the markets of Les Halles.
The façade and the interior followed the Napoleon III style principle of leaving no space without decoration. Garnier used polychromy, or a variety of colors, for theatrical effect, achieved different varieties of marble and stone and gilded bronze; the façade of the Opera used seventeen different kinds of material, arranged in elaborate multicolored marble friezes and lavish statuary, many of which portray deities of Greek mythology. The principal façade is on the south side of the building, overlooking the Place de l'Opéra and terminates the perspective along the Avenue de l'Opéra. Fourteen painters and seventy-three sculptors participated in the creation of its ornamentation; the two gilded figural groups, Charles Gumery's L'Harmonie and La Poésie, crown the apexes of the principal façade's left and right avant-corps. They are both made of gilt copper electrotype; the bases of the two avant-corps are decorated with four major multi-figure groups sculpted by François Jouffroy, Jean-Baptiste Claude Eugène Guillaume, Jean-Baptiste Carpeaux, Jean-Joseph Perraud.
The façade incorporates other work by Gumery, Alexandre Falguière, others. Gilded galvanoplastic bronze busts of many of the great composers are located between the columns of the theatre's front façade and depict, from left to right, Auber, Mozart, Spontini and Halévy. On the left and right lateral returns of the front façade are busts of the librettists Eugène Scribe and Philippe Quinault, respectively; the sculptural group Apollo and Music, located at the apex of the south gable of the stage flytower, is the work of Aimé Millet, the two smaller bronze Pegasus figures at either end of the south gable are by Eugène-Louis Lequesne. Known as the Rotonde de l'Empereur, this group of rooms is located on the left side of the building and was designed to allow secure and direct access by the Emperor via a double ramp to the building; when the Empire fell, work stopped. It now houses the Bibliothèque-Musée de l'Opéra de Paris, home to nearly 600,000 documents including 100,000 books, 1,680 periodicals, 10,000 programs, letters, 100,000 photographs, sketches of costumes and sets and historical administrative records.
Located on the right side of the building as a counterpart to the Pavillon de l'Empereur, this pavilion was designed to allow subscribers direct access from their carriages to the interior of the building. It is covered by a 13.5-metre diameter dome. Paired obelisks mark the entrances to the rotunda on the south; the interior consists of interweaving corridors, stairwells and landings, allowing the movement of large numbers of people and space for socialising during intermission. Rich with velvet, gold leaf, cherubim and nymphs, the interior is characteristic of Baroque sumptuousness; the building features a large ceremonial staircase of white marble with a balustrade of red and green marble, which divides into two divergent flights of stairs that lead to the Grand Foyer. Its design was inspired by Victor Louis's grand staircase for the Théâtre de Bordeaux; the pedestals of the staircase are decorated with female torchères, created by Albert-Ernest
Marcel L'Herbier was a French filmmaker who achieved prominence as an avant-garde theorist and imaginative practitioner with a series of silent films in the 1920s. His career as a director continued until the 1950s and he made more than 40 feature films in total. During the 1950s and 1960s, he worked on cultural programmes for French television, he fulfilled many administrative roles in the French film industry, he was the founder and the first President of the French film school Institut des hautes études cinématographiques. Marcel L'Herbier was born in Paris on 23 April 1888 into a professional and intellectual family, as he grew up he demonstrated a multi-talented disposition for sports, dancing and the arts, he attended a Marist school and the Lycée Voltaire, followed by the École des Hautes Études Sociales in Paris. He worked hard at his education and by 1910 he had obtained his licence en droit, a qualification to practice law, he went on to study literature, in his spare time he learned harmony and counterpoint with Xavier Leroux, with the ambition of becoming a composer.
Another ambition was to join the diplomatic service. An early romance with the future dancer Marcelle Rahna ended in sensational publicity when she fired a revolver at him and at herself. Both survived. In 1912 he met Georgette Leblanc, the companion of Maurice Maeterlinck, under her influence he started to write plays and criticism, made many contacts in literature and the theatre, his idols were Paul Claudel and Claude Debussy. The outbreak of war in 1914 changed L'Herbier's world, he withdrew from social life, being unable to join the army because of his injured hand, he went to work in a factory making military uniforms. He went on to serve with various auxiliary units of the armed forces and towards the end of the war in 1917-1918 he was by chance transferred to the Section Cinématographique de l'Armée, where he received his first technical training in film-making, his intellectual conversion to the medium of film had only occurred, firstly through a friendship with the actress Musidora and subsequently through encounters with the critics Louis Delluc and Émile Vuillermoz who were developing their own theories of the new art form.
While still in the army, L'Herbier wrote two film scenarios for other directors, accepted an official commission to make a propaganda film about the image of France, funded by Léon Gaumont. He produced Rose-France, a original and poetic film using many experimental camera techniques, which proved too fanciful for many but which established his reputation as a talented innovator. After making another more commercial film for Gaumont, Le Bercail, he was offered a two-year contract with the company which gave him the means to choose more ambitious projects. On Le Bercail, he worked for the first time with the actress Marcelle Pradot who subsequently appeared in most of his silent films and whom he married in 1923. Between 1919 and 1922, L'Herbier made six films for Gaumont, several in their Série Pax, three of these stood out as major achievements of his period in silent films, he adapted a story by Balzac for L'Homme du large and filmed on the Brittany coast. More ambitious was El Dorado, a grand and visually spectacular melodrama filmed on location in Andalusia.
Tensions between L'Herbier and Gaumont were resolved into the project Don Juan et Faust filmed in Spain. After this, L'Herbier felt the need to seek his creative independence and he founded his own production company, Cinégraphic, which produced his next six films. L'Herbier's first production with his own company was an adaptation of Resurrection from the Tolstoy novel, but filming met a series of setbacks and the project was abandoned when L'Herbier contracted typhoid and was critically ill for several weeks. In 1923, L'Herbier was persuaded by Georgette Leblanc-Maeterlinck to consider a project in which she would star, which would attract some American finance. A striking visual spectacle was built around a fanciful plot, the result proved controversial among audiences and critics alike. L'Herbier had discovered the work of the playwright and novelist Luigi Pirandello during 1923 and was eager to introduce his ideas to the cinema, he chose the novel Il fu Mattia Pascal, was delighted when Pirandello's mistrust of filmmakers was overcome and he agreed for the first time to the filming of one of his works.
The film Feu Mathias Pascal featured the expatriate Russian actor Ivan Mosjoukine in the leading role, it became successful with critics and the public. In spite of his successes, Cinégraphic was losing money, for his next film L'Herbier chose a more popular and straightforward subject, Le Vertige, filmed in the south of France, a commercial success; this was followed by Le Diable au cœur, a maritime drama set in the fishing port of Honfleur, featuring the English actress Betty Balfour.
An Angel on Wheels
An Angel on Wheels is a 1959 French-West German romantic comedy film starring Romy Schneider, Henri Vidal and Jean-Paul Belmondo. It was known in France as Mademoiselle Ange and in Germany as Ein Engel auf Erden, it had admissions in France of 891,190. Romy Schneider as Line Henri Vidal as Pierre Chaillot Michèle Mercier as Augusta de Munchenberg Jean-Paul Belmondo as Michel Barrot Jean Brochard as Le père de Line Jean Tissier as Le présentateur du numéro du magicien au Riviera Club Paulette Dubost as La mère de Line Margarethe Hagen as L'ange chef Erika Von Thallman as La tante d'Augusta Ernst Waldow as Corelli Mario Beunat as Le commentateur de la radio Jean Panisse as Le pompiste Gérard Darrieu as Le chef de l'aéroport Pierre Sergeol as Commissioner Roland Rodier as Antonio René Worms as Le valet de chambre de la tante Lucien Callamand as Man at marriage An Angel on Wheels on IMDb Film page at Le Film guide