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Julien Duvivier filmography. Julien Duvivier (8 October 1896, in Lille – 29 October 1967, in Paris) was a French film director. He rose to prominence in French cinema in the silent era, and directed some of the most notable films of the poetic realism in the 1930s, such as La belle équipe and Pépé le Moko. During World War II he worked in ...
YearEnglish TitleOriginal TitleProduction Country1928Le mystère de la tour EiffelFrance1928Le tourbillon de ParisFrance1929La Vie miraculeuse de Thérèse MartinFrance1929Maman ColibriFranceHe was 71; he left behind a filmography comprising nearly 70 films. He is buried in the cemetery of Rueil-Malmaison in the Hauts-de-Seine. Rue Julien Duvivier in the 3rd arrondissement of Lyon Filmography
From Wikipedia, the free encyclopedia. Julien Duvivier (8 October 1896, in Lille – 29 October 1967, in Paris) was a French film director. He rose to prominence in French cinema in the silent era, and directed some of the most notable films of the poetic realism in the 1930s, such as La belle équipe and Pépé le Moko.
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From the serials of Louis Feuillade to the first auteur pieces of Abel Gance, this decade is rich in cinematic marvels. Read more... An in-depth biography of the film director and writer Julien Duvivier, and a complete list of the artist's films, with links to movie reviews.
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Tomatometer®Audience ScoreTitleCreditNo Score YetNo Score YetWriterNo Score Yet45%Director, ScreenwriterNo Score YetNo Score YetDirector, WriterNo Score YetNo Score YetDirectorMar 17, 2017 · He turned his hand to literary adaptations (from works by Zola, Tolstoy, Simenon and Némirovsky), biblical epic (1935’s Golgotha ), ‘sketch’ films ( Dance Program, 1942’ Tales of Manhattan ), comedy (the Don Camillo series, from 1952 and 1953), Hollywood biopics (1938’s The Great Waltz ), film noir (1956’s Voici le temps des assassins / Deadlier...
Nov 5, 2015 · Nov 5, 2015. MAN IN THE SHADOWS. Julien Duvivier was a master of the early sound film. Whether he was making a romance, mystery, comedy, or domestic drama, his use of the camera was always revelatory, and he showed an uncanny instinct for the ways sound could be put to poetic as well as narrative uses.