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A list of 31 films compiled on Letterboxd, including David Golder (1931), Pépé le Moko (1937), The Red Head (1925), Un carnet de bal (1937) and Marianne, Meine Jugendliebe (1955). About this list: Julien Duvivier might be the most underrated of French film directors.
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.
YearEnglish TitleOriginal TitleProduction Country1928Le mystère de la tour EiffelFrance1928Le tourbillon de ParisFrance1929La Vie miraculeuse de Thérèse MartinFrance1929Maman ColibriFranceExplore the filmography of Julien Duvivier on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
Tomatometer®Audience ScoreTitleCreditNo Score YetNo Score YetWriterNo Score Yet45%Director, ScreenwriterNo Score YetNo Score YetDirector, WriterNo Score YetNo Score YetDirectorNov 5, 2015 · His best films of the 1930s, the most fruitful era of his career, are dark-toned works about human disillusionment and frailty.
- 8 October 1896, Lille 29 October 1967, Paris
- Duvivier and French Cinema: Style and Conflict
- When Cahiers Attacks
- Silence Then Sound
- Hollywood Then Home
- Towards The End of The Day
- Filmography
- Bibliography
Julien Duvivier was once considered one of the world’s great filmmakers. He was idolised by Orson Welles and Michael Powell, while Ingmar Bergman once admitted that of all the careers that he would have liked to have had, it would be Duvivier’s. The classicism of his mise en scène, his core thematic concerns – deception, misanthropy, the fragility ...
Like his Hollywood contemporaries Raoul Walsh, Michael Curtiz and William Wyler, Duvivier could turn his hand to any genre, and imbue each assignment with a set of arresting visuals or deft narrative turns while still serving the film’s source material as efficiently as possible. Here is a director of range, adaptability and know-how, yet attemptin...
This conflict was not one-way. The critical response to many of Duvivier’s post-1950s films from the Cahiers du cinéma crowd, and from François Truffaut in particular, was savage; the other key French film journal Positif did not review a single Duvivier film between 1952 and 1967. These were critics constantly at war with Duvivier, and the sterile...
Duvivier was undoubtedly the most prolific of the new generation of French directors who emerged in the early 1920s, making far more silent films than Jacques Feyder, René Clair, or Jean Renoir. Genres were chosen insouciantly, from religious film to broad comedy, from proto-noirto bourgeois melodrama. By cutting across genres so efficiently, Duviv...
Duvivier worked in America twice, firstly and briefly in 1938, and then again from 1940 to 1945. Whilst there, he revitalised his own approach to filmmaking by imbricating ‘Frenchness’ into a very different industrial system. The money-no-object freedoms and studio gloss afforded Duvivier while he made The Great Waltz (1938) for MGM encouraged him ...
The films Duvivier made post-Deadlier Than the Male have generally been dismissed as anonymous hack works. Yet a closer look reveals that these later works remained richly melodramatic and stoically melancholic. Duvivier continued to adapt source texts (Lovers of Paris, Highway Pickup) and made wistful films with New Wave inflections (La Grande vie...
Haceldama ou le prix du sang (1919) Les Roquevillard (1922)L’Ouragan sur la montagne (1922) Le Reflet de Claude Mercœur (1923) La Machine à refaire la vie (1924) Credo ou la tragédie de Lourdes (1924) L’Œuvre immortelle (1924) Cœurs farouches (1924)Poil de carotte (1925)L’Abbé Constantin (1925) L’Homme à l’Hispano (1926)Le Mystère de la tour Eiffel...
Eric Bonnefille, Julien Duvivier: le mal aimant du cinéma français, 2 volumes (volume 1: 1896-1940 ; volume 2: 1940-1967) (Paris: Harmattan, 2002). Lenny Borger, “Genius Is Just a Word”, Sight and Sound, September 1998, pp. 28-31. Raymond Chirat, Julien Duvivier(Lyon: Premier Plan, 1968). Yves Desrichard, Julien Duvivier: Cinquante ans de noirs des...
Duvivier co-wrote and directed two films in 1957: the drama Lovers of Paris (starring Gérard Philipe) and the comedy-thriller The Man in the Raincoat (starring Fernandel and Bernard Blier). Marie-Octobre (1959) followed, featuring Danielle Darrieux , Serge Reggiani , and Bernard Blier amongst others.
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Julien Duvivier. Writer: Panique. Revered by such legendary fellow directors as Ingmar Bergman and Jean Renoir, Julien Duvivier is one of the most legendary figures in the history of French cinema.
