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Julien Duvivier Press Release THE MUSEUM OF MODERN ART PRESENTS A 22-FILM RETROSPECTIVE OF THE FRENCH DIRECTOR AND SCREENWRITER JULIEN DUVIVIER Exhibition Features Four Films Starring the Legendary Actor Jean Gabin, Including the Celebrated Pépé le Moko (1937) Composer Stephen Sondheim Will Introduce Un Carnet de bal (1937) on May 14 Julien Duvivier May 1 – 28, 2009 The Roy and Niuta Titus Theaters New York, April 7, 2009—The widely varied and influential career of French director and screenwriter Julien Duvivier (1896-1967) is rediscovered in Julien Duvivier, a month-long, 22-film retrospective at The Museum of Modern Art, from May 1 through 28, 2009. Working consistently for four decades, both in Europe and Hollywood, in a darkly poetic realist style, Duvivier made popular melodramas, thrillers, religious epics, comedies, wartime propaganda, musicals, and literary adaptations of novels by Emile Zola, Leo Tolstoy, Irène Némirovsky, and Georges Simenon. This exhibition features the New York premieres of four films that have either been recently restored or are shown in Duvivier’s preferred versions, as well as new translations of 14 films. On May 14, at 8:00 p.m., the composer Stephen Sondheim will introduce Duvivier’s classic sketch film Un Carnet de bal (1937), which he once intended to adapt as a Broadway musical. The retrospective Julien Duvivier is organized by Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art, and Lenny Borger, film historian and translator. Jean Renoir once proclaimed, “If I were an architect and I had to build a monument to the cinema, I would place a statue of Duvivier above the entrance… This great technician, this rigorist, was a poet.” Duvivier, who was also championed by other estimable filmmakers and writers, including Ingmar Bergman, Claude Chabrol, Graham Greene, Elaine May, Agnès Varda, and Orson Welles, is largely known for his collaborations with the great actor Jean Gabin in the 1930s. This exhibition features four of these classics of French cinema: the recently restored La Bandera (1935); the New York premiere of Duvivier’s preferred, darker ending to La Belle Équipe (1936); Pépé le Moko (1937); and Deadlier than the Male (1956). The exhibition’s rare screenings include Duvivier’s adaptation of the Zola novel Au Bonheur des dames (1930), his adaptation of Simenon’s Inspector Maigret story A Man’s Neck (1933), the enchanting La Fête à Henriette (1952), and the silent and sound versions of Poil de carotte (1925 and 1932), a heartbreaking chronicle of childhood. The 1932 sound version of Poil de carotte—Duvivier’s favorite among his films—will be the opening night feature on Friday, May 1, at 7:00 p.m., introduced by co-curator Lenny Borger. Also featured in the exhibition are the New York premieres of four films: the delightful and revelatory experimental comedy Allo Berlin? Ici Paris! (1932); the newly restored La Bandera (1935); La Belle Equipe (1936), with Duvivier’s preferred tragic ending; and the wartime propaganda film Untel Père et fils (Heart of a Nation) (1943) in its longer, French theatrical version. “Among the French directors of the classic period,” Claude Chabrol recently observed, “Julien Duvivier is my favorite, with Jean Renoir. He was an auteur who didn’t declare himself one.” The exhibition is made possible, in part, by the Cultural Services of the French Embassy, New York. Press Contacts: Meg Blackburn, (212) 708-9757, [email protected] Margaret Doyle, (212) 408-6400, [email protected] For downloadable images, please visit www.moma.org/press. No. 28 Public Information: The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019 Hours: Films are screened Wednesday-Monday. For screening schedules, please visit www.moma.org. Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights, 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders. The public may call (212) 708-9400 for detailed Museum information. Visit us at www.moma.org 2 SCREENING SCHEDULE Julien Duvivier All films are directed by Julien Duvivier and in French, with English subtitles, except The Great Waltz and Anna Karenina (both in English), and The Little World of Don Camillo (in Italian, with English subtitles). Friday, May 1 7:00 Poil de carotte. 1932. France. Directed by Julien Duvivier. Screenplay by Duvivier, based on the story by Jules Renard. With Harry Baur, Robert Lynen, Catherine Fonteney. With its justifiably famous “wedding” scene of Poil de carotte to a little country girl, this astonishingly sophisticated early sound film is a visual poem of innocence and grace that would inspire René Clément’s Jeux interdits (Forbidden Games) twenty years later. “In a rare example of a remake surpassing its memorable original,” Lenny Borger notes, “Duvivier gave definitive form to this classic chronicle of childhood. Baur plays the father with all his subtle authority and young Lynen cuts deep to the desperate pathos of lonely Poil de Carotte. A film of great tenderness, and lyricism, with a final reconciliation scene between Baur and Lynen to force a sob from the stoniest breast.” 91 min. Introduced by co-curator Lenny Borger Saturday, May 2 1:30 Allo Berlin? Ici Paris! 1932. France/Germany. Directed by Julien Duvivier. Screenplay by Duvivier, Rolf E. Vanloo. With Josette Day, Wolfgang Klein, Germaine Aussey. One of the exhibition’s major rediscoveries, Allo Berlin? reveals a lighter, more experimental side of Duvivier, with a charming sentimentality and hilarious visual and verbal gags to rival those of fellow French filmmaker René Clair. Young switchboard operators in Paris and Berlin meet cute by flirting across telephone lines, national borders, and romance languages in this celebration of continental cosmopolitanism between the wars. 89 min. 5:00 La Tête d’un homme (A Man’s Neck). 1933. France. Directed by Julien Duvivier. Screenplay by Pierre Calmann, Louis Delaprée, Duvivier, based on the novel by Georges Simenon. With Harry Baur, Valery Inkizhinov, Gaston Jacquet. “One of the first great screen incarnations of Georges Simenon’s famous sleuth, Inspector Maigret. Only months after Jean Renoir filmed La Nuit de carrefour with his actor brother Pierre, Duvivier passed the pipe to Harry Baur, and the results were just as broodingly electric. Maigret roams crowded Montparnasse cafés and dingy tenements as he plays cat and mouse with a nihilistic, Dostoevskian killer (hauntingly played by Russian émigré actor Valery Inkizhinov). Both a classic film noir and a seminal police procedural” (Borger). 98 min. 8:00 Panique. 1946. France. Directed by Julien Duvivier. Screenplay by Duvivier, Charles Spaak, based on the novel Les Fiançailles de Monsieur Hire by Georges Simenon. With Michel Simon, Viviane Romance, Max Dalban. Duvivier’s late masterpiece, a coruscating vision of evil, foreshadows Hitchcock in its tensions and recalls Henri-Georges Clouzot’s The Raven and Fritz Lang’s Fury in its themes of small town hysteria and the framing of an innocent man. Michel Simon gives a virtuoso performance as Monsieur Hire, George Simenon’s lonely, voyeuristic bachelor, who falls for a gangster’s seductive moll and is set up for the murder of an old woman. 96 min. 3 Sunday, May 3 2:30 Poil de carotte. 1925. France. Directed by Julien Duvivier. Screenplay by Duvivier, based on the story by Jules Renard. With André Heuzé, Henry Krauss, Charlotte Barbier-Krauss. Duvivier’s breakthrough film is a heartbreaking, Dickensian story of a country boy, derisively nicknamed “Carrot Top,” who is physically and emotionally abused by his mother and neglected by his father. Recalling two other brilliant, silent-era portraits of childhood suffering—his mentor André Antoine’s Le Coupable (1917) and Jacques Feyder’s Visages d’enfants (1925)— Duvivier imbues his melodrama with a psychological depth, a sensitivity to peasant customs and pastoral light, and a harsh naturalism that transforms the Alpine landscape into a metaphor for loneliness and cruelty. Silent; piano accompaniment. Approx. 108 min. 5:30 Poil de carotte. 1932. (See Friday, May 1, 7:00.) Monday, May 4 4:30 Poil de carotte. 1925. (See Sunday, May 3, 2:30.) 8:00 Allo Berlin? Ici Paris! 1932. (See Saturday, May 2, 1:30.) Wednesday, May 6 4:30 La Tête d’un homme (A Man’s Neck). 1933. (See Saturday, May 2, 5:00.) Thursday, May 7 4:30 La Belle Équipe (They Were Five). 1936. France. Directed by Julien Duvivier. Screenplay by Duvivier, Charles Spaak. With Jean Gabin, Charles Vanel, Viviane Romance. Made during the gathering storms of war, economic collapse, and social unrest— and in the same radical cinematic year as Gregory La Cava’s My Man Godfrey and Jean Renoir, Jacques Becker et al.’s La Vie est à Nous—La Belle Équipe has long been considered a celebration of Popular Front ideals of working-class solidarity and universal brotherhood. But the director’s preferred tragic ending, with Viviane Romance’s sexual temptations spelling doom for Jean Gabin and Charles Vanel— shown here in the U.S. for the first time—renders this one of Duvivier’s bleakest masterpieces. Five penniless workers win the lottery and are able to realize their dream of opening a guinguette (café-restaurant and pleasure garden) on the banks of the Marne. Duvivier uses beautifully fluid camerawork, pastoral settings, and popular song to mark their freedom from the crushing defeat of poverty, then sabotages their noble enterprise through a crime of passion.
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