As per our current Database, Jean Grémillon has been died on 25 November, 1959 at Paris, France.
When Jean Grémillon die, Jean Grémillon was 61 years old.
| Popular As | Jean Grémillon |
| Occupation | Director |
| Age | 61 years old |
| Zodiac Sign | Pisces |
| Born | March 4, 1898 (Bayeux, Calvados, Basse-Normandie, France) |
| Birthday | March 4 |
| Town/City | Bayeux, Calvados, Basse-Normandie, France |
| Nationality | France |
Jean Grémillon’s zodiac sign is Pisces. According to astrologers, Pisces are very friendly, so they often find themselves in a company of very different people. Pisces are selfless, they are always willing to help others, without hoping to get anything back. Pisces is a Water sign and as such this zodiac sign is characterized by empathy and expressed emotional capacity.
Jean Grémillon was born in the Year of the Dog. Those born under the Chinese Zodiac sign of the Dog are loyal, faithful, honest, distrustful, often guilty of telling white lies, temperamental, prone to mood swings, dogmatic, and sensitive. Dogs excel in business but have trouble finding mates. Compatible with Tiger or Horse.
An educated man,Jean Grémillon (b.1898) should almost be mentioned in the same breath as the big five of the golden age of the French cinema (Carné,Renoir,Duvivier, Feyder and Clair).Some of his plans never came to anything:for instance ,after WW2 ,only three movies, which is too few,for such a man.
The silent years : Grémillon's career began with documentary shorts ...and ended the same way .His first effort (1923) dealt with Chartres town.Three years later ,came his first feature film "Maldone" ;one of his recurrent features is already here : rebellion against the wealthy classes ,it's the story of a young heir,who favors freedom over possessions .
"Gardien De Phare " could be remade today (and its influence appears in some horror movies) :two lighthouse keepers (the father and the son) are to spend one entire month in the middle of the sea near the coasts of Brittany; flashbacks reveal us that the young man has been bitten by a rabid dog.
The period of transition : his first talkie " La Petite Lise" (1930)was a melodrama ; the male character was probably inspired by Hugo's Jean Valjean."Dainah La Métisse " was some kind of murder mystery: did she jump or was she pushed?Probably the latter.
But what's extraordinary is the obvious connection with Gremillon's later work "Pattes Blanches" (1947): the murder of the bad girl (Suzy Delair) by Maurice (Michel Bouquet) on the cliff,and the white bride veil .
The director himself confessed he never liked its follow -up "Pour Un sou D' Amour ",not exactly class struggle .Both his Spanish movies sank without a trace "La Dolorosa" was a musical where they sing every ten minutes ;his collaboration with Luis Bunuel seemed unworthy of both men's talent :"It is odd that Luis Bunuel singled out the uninspired but decidedly above-average melodrama" (Mario Gauci).
"La Valse Royale " (1935 ), a French -(Hitlerian) Germany co-production did nothing to rectify Gremilllon 's stature :"light-hearted gallantry" best described this old-fashioned ,poorly written - story with some hints at the French Revolution .
The golden years : From "Gueule d'Amour"(1937) onward ,Grémillon would never produce anything mediocre:this 1937 work was the stuff Gabin's legend was made ,his part of a legionnaire who experimented tragedy.
"L'Etrange Monsieur Victor" gave Raimu the opportunity to play,masterfully, a part of a criminal.The making of "Remorques" began in 1939,but because of the occupation ,was released in 1941:the banal plot mattered much less than the atmosphere;the star of the movie was the Ocean:you could hear,feel or see it ceaselessly along the viewing.
"Lumière D'Ete" (1942) pitted the men of leisure against the working class heroes :Although it was a Prévert/Laroche screenplay ,the main influence here was Renoir's .All that concerned Paul Bernard's character and his fete in the castle strongly recalled "La Règle Du Jeu" .
Probably the center of gravity of the movie ,this memorable sequence of the Farandole - while the tragedy was impending- would find an equivalent in Prévert/Carné's ending of "Les Enfants Du Paradis".
Nowadays ,it is generally considered Grémillon's apex."Le Ciel est A Vous" (1943)was a beautiful movie dedicated to daring women,who were feminists ahead of their time ,the story of a woman who wanted to be an aviator.
During the Occupation,the Petainist France set this movie up as an example of virtue and courage ,against the dirty Clouzot's "le Corbeau ".After the Liberation,both movies were attacked,the former,for being too Petainist,the latter for showing the darkest side of the occupied country.
The post-war years : Grémillon 's career was never the same,although the three movies he made were very interesting.Jean Anouilh who wrote the screenplay was to direct "Pattes Blanches " but he fell sick and had to give up.
He chose Jean Grémillon to do the job and he was right: it included moments of desperate lyricism .In "L'Etrange Madame X" (1951)Jean Grémillon and Albert Valentin did what they did best: setting a working class milieu against the bourgeois world ;this was the kind of "cinema-made-in-the-studio " which the Nouvelle Vague used to despise but it was this cinema which had lent credibility to the French movies .
His final effort ,"L'Amour D'Une Femme "was beautiful but extremely sad,even lugubrious.It featured two funerals ,and many depressing scenes;even the love scenes were sad.When Madame Leblanc, a schoolteacher,about to retire, packed her stuff,when the doctor asked herself if her work was finally worthwhile ,we think of the director who probably knew it was to be his final work.
During his last years he had to be content with shorts ,which,for a first-class director such as him ,was certainly a shame ,considering the great works he could still have made.He died at 61,prematurely.
His movies often involved the sea, rotating around sailors or taking place in maritime locations
Often cast Madeleine Renaud
Suggestive cinematography
Bitter, possibly open endings
Imaginative, almost visionary style
Movies centred around doomed, occasionally twisted love stories
