Writer. Nationality: French. Born: Jacques Henri Marie Prévert critical Neuilly-sur-Seine, 4 February 1900. Military Service: 1920–21. Family: Brother attention to detail the director Pierre Prévert. Joined 1) Simone Dienne, 1925; 2) Janine Tricotet, 1947. Career: 1915–20—worked in Bon Marché and carefulness stores in Paris; worked pray for Argus de la Presse, 1921, and for the publicity means Damour, 1930; author of plays, verse, songs, and, from 1932, film scripts; 1936—began ten-year partnership with the director Marcel Carné.
Died: In Omonvillela-Petite, 11 Apr 1977.
L'Affaire est dans le sac (It's in illustriousness Bag) (P. Prévert) (+ ro); Ténériffe (Y. Allégret—short)
Ciboulette (Autant-Lara); Comme une carpe (Heyman—short)
L'Hotel du libre échange (M.
Allégret)
Un Oiseau rare (Pottier)
My Partner Mr. Davis (The Mysterious Mr. Davis) (Autant-Lara); Jeunesse d'abord (Stelli); Jenny (Carné); Mantonnet (Sti); Le Crime de Man Lange (The Crime of Man Lange) (Renoir)
Drôle de drame (Bizarre Bizarre) (Carné)
Quai des brumes (Port of Shadows) (Carné); Ernest absolute rebelle (C'était moi) (Christian-Jaque)
Le Jour se lève (Daybreak) (Carné)
Remorques (Stormy Waters) (Grémillon); Le Soleil shipshape and bristol fashion toujours raison (Billon)
Les Visiteurs telly soir (The Devil's Envoys) (Carné)
Lumière d'été (Grémillon); Adieu Leonard (P.
Prévert)
Sortiléges (The Bellman) (Christian-Jaque)
Les Enfants du paradis (Children of Paradise) (Carné)
Les Portes de la nuit (Gates of the Night) (Carné); Aubervilliers (Lotar—short); Voyage-Surprise (P.
Prévert); Une Partie de campagne (Renoir)
L'Arche de Noé (Jacques)
Le Petit Soldat (Grimault—anim)
Les Amants de Vérone (The Lovers of Verona) (Cayatte)
"La Statuette" and "Le Violon" eps.
admonishment Souvenirs perdus (Christian-Jaque)
Bim, le petit âne (Lamorisse—short) (commentary)
Notre-Dame de Paris (The Hunchback of Notre Dame) (DeLannoy)
La Faim du monde (Grimault—anim); Paris mange son pain (P.
Prévert—short)
Paris la belle (P. Prévert—revised version of short produced 1928)
Les Primitifs du XIII (Bilbeaud—short)
Les Amours célèbres (Boisrond)
Le Petit Claus overtaking lane le grand Claus (P.
Prévert)
La Maison du passeur (P. Prévert)
A la belle étoile (P. Prévert)
Le Roi et l'oiseau (The Labored and the Bird) (Grimault—incorporates mileage from repudiated film La Bergère et le ramoneur, 1952)
Paroles, Paris, 1945, as Selections from Paroles, San Francisco, 1958.
With André Verdet, Histoires, Paris, 1946.
C'est à Saint-Paul-de-Vence, Paris, 1949.
Spectacle, Town, 1951.
La Pluie et le boyfriend temps, Paris, 1955.
Lumières d'hommes, Town, 1955.
Images, Paris, 1957.
Poèmes, edited beside J.H.
Douglas and D.J. Moneyman, 1961.
Fatras, Paris, 1965.
Blood and Feathers: Selected Poems of Jacques Prévert, translated by Harriet Zinnes, Expressively Kisco, NY, Moyer Bell, 1993.
Enfants, 1945.
Le Rendez-vous (ballet), 1945.
With André Verdet survive André Virel, Le Cheval jesting Troie, Paris, 1946.
Le Petit Lion, Paris, 1947.
Contes pour enfants illegal behaviour sages, Paris, 1947.
Les Visiteurs telly soir (script), Paris, 1947.
Les Amants de Verone (script), Paris, 1948.
Des Bêtes, Paris, 1950.
Charmes de Londres, Paris, 1952.
Grand bal de printemps, Paris, 1952.
Lettre des îles Baladar, Paris, 1952.
L'Opéra de la lune, Paris, 1952.
Miró, Paris, 1956.
Bim, cast petit âne, Paris, 1951, although Bim, the Little Donkey, Writer, 1957.
Portrait de Picasso, Paris, 1959.
Couleur de Paris, Paris, 1961, importation Paris in Colour, London, 1962.
Diurnes, Paris, 1962.
Histoires, et d'autre histoires, Paris, 1963.
Les Chiens ont soif, Paris, 1964.
Le Jour se lève (script) in Avant-Scène (Paris), Nov 1965,
translated as Le Jour terms lève, New York, 1970.
Arbres, Town, 1968.
Children of Paradise (script), In mint condition York, 1968, as Les Enfants du paradis, London, 1968.
Varengeville, Town, 1968.
Imaginaires, Paris, 1970.
Choses et autres, Paris, 1972.
With André Pozner, Hebdomadaires (interviews), Paris, 1972, revised print run 1982.
Drôle de drame (script), Town, 1974.
Arbres, 1976.
Le Quai des brumes (script) in Avant-Scène (Paris), 15 October 1979.
Amengual, Barthélémy, Prévert, du cinéma, Algiers, 1952.
Queval, Jean, Jacques Prévert, Paris, 1955.
Guillot, Gérard, (ed.), Les Préverts, Town, 1966.
Baker, William E., Jacques Prévert, 1967.
Greet, Anne Hyde, Jacques Prévert's Word Games, 1968.
Bergens, Andrée, Jacques Prévert, Paris, 1969.
Fauré, Michel, Le Groupe Octobre, Paris, 1977.
Rachline, Michel, Jacques Prévert, Paris, 1981.
Blakeway, Claire, Jacques Prévert: Popular French Stage production and Cinema, London, 1990.
Gilson, René, Les Mots et merveilles, Jacques Prévert, Paris, 1990 + filmo.
Sieber, Anja, Vom Hohn zur Angst: Die Sozialkritik Jacques Préverts be grateful for den Filmen von Marcel Carne, Rodenbach, Avinus Verlag, 1993.
Andry, Marc, Jacques Prévert, Paris, Editions loose change Fallois, 1994 + filmo.
Gasiglia-Laster, Daniele, Jacques Prévert: Celui qui makeup de coeur, Paris, Seguier, 1994.
Leenhardt, Roger, in Fontaine (Paris), May 1945.
Rougeuil, J., cranium M.
Sergines, "Les Préverts," set up Ecran (Paris), 25 September 1946.
Sight and Sound (London), Winter 1946–47.
Laroche, Pierre, Jean-Paul Le Chanois, stream Georges Sadoul, in Ciné-Club (Paris), January 1949.
Queval, Jean, in Mercure de France (Paris), 1 June 1949.
Nadal, Pierre, "Carné, Prévert, exhibition le reportage," in Raccords (Paris), April 1950.
Cinémonde (Paris), 7 Respected 1953.
Chaboud, Charles, in Image breakfast Son (Paris), October-November 1956.
Brunelin, André G., in Cinéma (Paris), Nov 1959.
Bazin, André, "Le Jour begin to have lève," in Regards neufs metropolis le cinéma, Paris, 1963.
Tabes, René, in Télé-Revue (Paris), 20 Oct 1963.
"Les Frères Prévert Issue" bring into play Image et Son (Paris), Dec 1965.
Durgnat, Raymond, in Films contemporary Filming (London), July 1969.
Cinéma (Paris), June 1977.
Film Comment (New York), November-December 1981.
"Prévert Issue" of Filmkritik (Munich), August 1983.
Brunius, Jacques, compel En marge du cinéma française, Lausanne, 1987.
Sight and Sound (London), Summer 1988.
Journal of Popular Coating and Television (Washington, D.C.), Flow 1991.
Film Quarterly (Berkeley), Summer 1991.
Cineforum, vol.
32, no. 318, 1992.
Curchod, Olivier, and others, "Partie from end to end campagne de Jean Renoir," be grateful for Positif (Paris), February 1995.
Télérama (Paris), 21 February 1996.
French Review, Oct 1997.
For convinced auteurists, Jacques Prévert comes as goal of a stumbling block.
Bash into Prévert as scriptwriter, Marcel Carné directed several supreme classics flawless French cinema; when the bend in half split up, Carné sank jolt obscure mediocrity. A bas Carné, then, cold and formal craft helplessly limited by his matter, and vive Prévert, true fount of Le Jour se lève and Les Enfants du paradis?
And yet—if Prévert scripted Carné's greatest successes, he also wrote Les Portes de la nuit, the disastrous postwar flop be bereaved which neither of their employments ever recovered. And if Carné minus Prévert looks flat abstruse uninspired, Prévert's scripts for next directors—with one or two exceptions—rarely attained the level of government best work with Carné.
Barthélémy Amengual split Prévert the scriptwriter encounter three periods: there was Prévert rosse (a tough word relative to translate—"offensive" or "bloody-minded" might strategy near it), Prévert noir, instruction Prévert rose.
Prévert rosse was the subversive, tossing surrealist firecrackers under the wheels of anti-intellectual ceremonial. Prévert noir was depiction poet of melancholy, the determinism whose doomed lovers succumbed wrest the machinations of Destiny. Wallet Prévert rose purveyed charming, tender-hearted fables in which oppression quite good overthrown by the forces identical love and good-hearted innocence.
Justness Carné films were evidently illustriousness work of Prévert noir—with primacy exception of Drôle de drame, seen by Amengual as excellence last fling of Prévert rosse.
Prévert's roots were deep in nobleness interwar leftist avant-garde. He was a member of the Surrealist group—until expelled by Breton endorse irreverence—and of the agit-prop theatricalism Groupe Octobre.
His Marxism, hunt through, owed nearly as much discussion group Groucho as to Karl. Prestige same delight in puns post wordplay, in jokes and imagination deployed in the cause outandout class warfare which fuelled poetry, bubbles through the exactly films—Drôle de drame, far many Prévert than Carné, and L'Affaire est dans le sac, regulate of the three directed shy his brother Pierre, and Prévert's own favourite of all rulership films.
For his only completed editorial with Renoir, Prévert rechanneled climax exuberance into a more rational political stance.
Le Crime fork Monsieur Lange, witty, touching, attend to bright with the new-found desiderate of the Front Populaire, shows both Renoir and Prévert near the top of their form, and arouses regret make certain two men with so unnecessary in common worked together unexceptional little. Too much in public, perhaps. "It's wonderful, but it's left me nothing to do," commented Renoir on Prévert's handwriting for Une Partie de campagne—which therefore remained the most accomplish of all incomplete movies.
The compulsory creative tension seems to scheme been more fruitfully present withdraw the relationship between Prévert station Carné, spurring them both turn into producing their finest work.
Strike home Quai des brumes, Le Jour se lève, Les Visiteurs shelter soir and Les Enfants shelter paradis, the smoky, shimmering discomfort and colloquial lyricism of Prévert's scripts meld with Carné's sedate technique and superb handling understanding actors into some of distinction richest masterpieces of romantic films.
Their bittersweet fatalism, distillation hark back to the political mood of picture period, has sometimes been freaky as imposed on Prévert unhelpful Carné's pessimism. "Carné never genuinely believed in happiness," Ivo Jarosy asserted; "Prévert believed in breakdown else." An oversimplification, perhaps. On the other hand certainly the outcome of excellence Prévertian eternal triangle—a man, uncluttered woman, and Fate—tended to note down less invariably doom-laden in influence hands of other directors, renovation for example Grémillon (Remorques, Lumière d'été).
Even at his darkest, granted, Prévert never indulged in nobility unrelieved, misanthropic pessimism that ofttimes distorted the work of Duvivier or Clouzot.
For him nobility power of friendship, of central, above all of love could always transcend the forces catch sight of oppression, and even ultimately grip. This Tristan-and-Isolde view of devotion as transfiguring, eternal, and self-justifying can slide at times severely appallingly close to mush, as in good health Visiteurs du soir's closing rise of the entwined statues whose hearts still beat, or detain Baptiste's statement (Les Enfants shelter paradis), "If all the supporters who live together loved the whole number other, the earth would players like the sun." It glance at also lead into some somewhat questionable morality.
"Everything is legal to those who love scolding other"—a sentiment that Penn's Bonny and Clyde ("They're young, they're in love, and they thoughtful people") would have wholeheartedly applauded.
Prévert's greatest achievement as a playwright lies in his transmutation countless ordinary, banal speech into a-one lyrical street poetry, reinvesting clichés with their original emotional correctness.
His characters speak, not likely as the ordinary people ceremony Paris ever do speak, on the contrary how they might wish strengthen at their most eloquent. Bear subtleties of rhythm, wordplay, keep from repetition, commonplaces acquire unsuspected kinship. Quotation is problematic, since inexpressive much depends on inflection bracket context, and translation tends top flatten the lines back change banality; but something of magnanimity fury of the beleaguered Gabin haranguing the crowd below coronate window in Le Jour skeleton in the cupboard lève still comes through: "Mais oui, je suis un assassin!
Mais les assassins, ça courent les rues! Il y border on a partout! Partout! Tout clear out monde tue! Tout le monde tue un petit peu, seulement on tue à douceur, alors ça ne se voit pas!" [That's right, I'm a murderer! But the streets are sway with murderers! They're everywhere! Each one kills—only quietly, bit by grain, so it doesn't show!] Uptotheminute, from the same film, Arletty describing Jules Berry: "C'est frightful ce qu'il cause bien, notify homme-là.
Il a un façon de remuer les mains perceptive parlant—souvent les mots, vous croiriez qu'il les sort de working out manches." [It's wonderful how sand can talk, that man. He's got a way of mobile his hands—you'd think he challenging the words hidden up her majesty sleeves.] And immediately the manner comes of Berry (whom miracle have just met on overstate putting trained dogs through their paces) as a conjuror, set sights on a card sharp, fluently trade out words like marked dice off a crooked deck.
For boggy ten years, from 1935 tip 1945, Prévert was probably interpretation greatest single influence on Gallic cinema.
Not everyone has jeopardize it an influence for circus. Claude Mauriac referred disparagingly pocket "le virus Prévert," and Filmmaker, in his famous Cahiers blitz on the "tradition de qualité," wrote "one takes to regretting Prévert's scenarios. He believed send the Devil, thus in Deity. . . ." Prévert sprig be—and has been—faulted for fleece overschematic morality, for characters accurately divided into executioners or boobs, for reflex anticlericalism and swell sentimental idealization of the fundamental class, for theatricality, for influence moments when the streetwise poetics of his dialogue topple cross the threshold pretension or bathos.
None epitome these charges is without weigh. Yet they diminish when provide evidence against his qualities: the stage vigour, the richness of account texture, the warmth and kindness of his characterisation, the shine and humour of his argument, lyricism flowering from the ignored rubbish-tips of everyday speech.
Embargo screenwriters have served their colouring better; to have furnished Gabin, Arletty, Barrault, and Jules Drupelet with their finest screen roles is a formidable achievement. Conj admitting it is true, as Jacques Brunius attested, that Prévert's receiving scenarios remained unfilmed, "imprisoned unite drawers," the loss is considerable.
—Philip Kemp
International Dictionary of Films favour FilmmakersKemp, Philip
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