Maurice Tourneur
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Maurice Tourneur
Maurice Tourneur (1876-1961), the French and American director, actor, and theatrical manager, is the focus of this work. He began in France during the years 1912-1914, and then spent 1914-1926 in New Jersey and Hollywood, directing more than 50 films, using his French interests and talents to help shape the industry, and bringing "stylization" to the screen.
Jacques Tourneur
At least three of director Jacques Tourneur's films--Cat People, I Walked with a Zombie and The Leopard Man--are recognized as horror classics. Yet his contributions to these films are often minimized by scholars, with most of the credit going to the films' producer, Val Lewton. A detailed examination of the director's full body of work reveals that those elements most evident in the Tourneur-Lewton collaborations--the lack of monsters and the stylized use of suggested violence--are equally apparent in Tourneur's films before and after his work with Lewton. Mystery and sensuality were hallmarks of his style, and he possessed a highly artistic visual and aural style. This insightful critical study examines each of Tourneur's films, as well as his extensive work on MGM shorts (1936-1942) and in television. What emerges is evidence of a highly coherent directorial style that runs throughout Tourneur's works.
Maurice Tourneur
In 1914, an unknown French filmmaker arrived in New York; within four years, that man, Maurice Tourneur (1876-1961), would become one of America's most acclaimed directors. In this masterful biography, Christine Leteux shows how intimately connected Tourneur's life was to major events of the twentieth century as well as to the profound transformations in movie making. He quickly managed the transition to sound, and his last major work was created for Continental Films, the German-owned firm that controlled the French film industry during the Nazi Occupation. His son, Jacques, followed in his footsteps, also becoming an acclaimed director. Drawing heavily on previously unpublished archival documents, Leteux reinvigorates film history and demonstrates that we know far less about this era of filmmaking than we often assume. She reveals not only how Tourneur jumped from France to the United States and back again but also how he shifted from one company to another, moving quickly up the ladder to bigger productions and ever larger studios. Tourneur's drive, insight, technical proficiency, skill with actors, ability to create new forms of storytelling, and fame on both sides of the Atlantic make it all the more surprising that he is not better known today--an oversight that has now been corrected thanks to Leteux's impressively detailed research and nuanced storytelling.