1981
Search results
Claude Autant-Lara (French: [otɑ̃ laʁa]; 5 August 1901 – 5 February 2000) was a French film director, screenwriter, set designer and costume designer who worked in films for over 50 years. His career was frequently marked by controversy, and in his late 80s he was elected to the European Parliament as a member for the far-right French National Front .
Claude Autant-Lara apparaît longtemps comme un cinéaste de gauche, « compagnon de route » du Parti communiste français. Il est de 1948 à 1954 le président du Syndicat des techniciens (syndicat dont la direction est majoritairement composée de techniciens membres ou proches du PCF), puis jusqu'en 1963 celui de la Fédération nationale du spectacle CGT , auquel ledit Syndicat est alors affilié.
Claude Autant-Lara (born August 5, 1903, Luzarches, France—died February 5, 2000, Antibes) was a French motion-picture director who won an international reputation with his film Le Diable au corps (1947; Devil in the Flesh ). Autant-Lara’s mother, an ardent pacifist, lived with her son in England during World War I.
Claude Autant-Lara. Director: Devil in the Flesh. Claude Autant-Lara was born on 5 August 1901 in Luzarches, Val-d'Oise, France. He was a director and writer, known for Devil in the Flesh (1947), The Crossing of Paris (1956) and The Red and the Black (1954).
Autant-Lara was a hot-headed crusader, but he had few friends and an army of enemies. Despite a favourable response from film critics, Le Diable au corps (1947) was condemned as being anti-French. The seemingly trivial farce L'Auberge Rouge (1951) was described as a blatant attack on the Church, whilst Le Blé en herbe (1953) was seen as excessively anti-bourgeois.
Feb 9, 2000 · TimesMachine is an exclusive benefit for home delivery and digital subscribers. Claude Autant-Lara, the director who made his name with films like ''Devil in the Flesh'' and ''The Red and the ...
Jan 23, 2018 · Claude Autant-Lara thought it would make a good film, in the style of whimsical ghost tales of the period like Marcel Carné’s Les visiteurs du soir and Noël Coward’s play Blithe Spirit. He also saw it as an opportunity to get back to what had drawn him to film in the first place: special effects and the movie magic of Georges Méliès.
