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Claude Henri Jean Chabrol (; 24 June 1930 – 12 September 2010) was a French film director, a member of the French New Wave (''nouvelle vague'') group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine ''Cahiers du cinéma'' before beginning his career as a film maker. Chabrol's career began with ''Le Beau Serge'' (1958), inspired by Hitchcock's ''Shadow of a Doubt'' (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in ''Les Biches'' (1968), ''La Femme infidèle'' (1969), and ''Le Boucher'' (1970) – all featuring Stéphane Audran, who was his wife at the time. Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career.〔(Great Directors Critical Database: Claude Charbol ) at Senses of Cinema〕 In 1978, he cast Isabelle Huppert as the lead in ''Violette Nozière''. On the strength of that effort, the pair went on to others including the successful ''Madame Bovary'' (1991) and ''La Ceremonie'' (1996). Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium...Some of his films become almost private jokes, made to amuse himself." James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard."〔Wakeman, John. ''World Film Directors, Volume 2''. The H. W. Wilson Company. 1988. 194–199.〕 ==1930–1957: Early life and journalism career== Claude Henri Jean Chabrol was born on 24 June 1930 to Yves Chabrol and Madeleine Delarbre in Sardent, France, a village in the region of Creuse 400 km (240 miles) south of Paris. Chabrol said that he always thought of himself as a country person, and never as a Parisian. Both Chabrol's father and grandfather had been pharmacists, and Chabrol was expected to follow in the family business. But as a child, Chabrol was "seized by the demon of cinema" and ran a film club in a barn in Sardent between the ages of 12 and 14.〔 At this time, he developed his passion for the thriller genre, detective stories and other forms of popular fiction. After World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, where he received a licencié en lettres. Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques.〔 While living in Paris Chabrol became involved with the postwar cine club culture and frequented Henri Langlois's Cinémathèque Française and the Ciné-Club du Quartier Latin, where he first met Éric Rohmer, Jacques Rivette, Jean-Luc Godard, François Truffaut and other future ''Cahiers du Cinéma'' journalists and French New Wave filmmakers. After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant.〔 Chabrol has claimed that while in the army he worked as a film projectionist.〔Monaco, James. ''The New Wave''. New York: Oxford University Press. 1976. p. 253.〕 After he was discharged from the army, he joined his friends as a staff writer for ''Cahiers du Cinéma'', who were challenging then-contemporary French films and championing the concept of Auteur theory. As a film critic, Chabrol advocated realism both morally and aesthetically, mise-en-scene, and deep focus cinematography, which he wrote "brings the spectator in closer with the image" and encourages "both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress."〔 He also wrote for ''Arts'' magazine during this period.〔 Among Chabrol's most famous articles were "''Little Themes''", a study of genre films, and "''The Evolution of Detective Films''".〔Monaco. pp. 255–256.〕 In 1955 Chabrol was briefly employed as a publicity man at the French offices of 20th Century Fox, but was told that he was "the worst press officer they'd ever seen" and was replaced by Jean-Luc Godard, who they said was even worse. In 1956 he helped finance Jacques Rivette's short film ''Le coup du berger'', and later helped finance Rohmer's short ''Véronique et son cancre'' in 1958. Unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors' work before making his feature film debut. In 1957 Chabrol and Eric Rohmer co-wrote ''Hitchcock'' (Paris: Éditions Universitaires, 1957), a study of the films made by director Alfred Hitchcock through the film ''The Wrong Man''.〔 Chabrol had said that Rohmer deserves the majority of the credit for the book, while he mainly worked on the sections pertaining to Hitchcock's early English films, ''Rebecca'', ''Notorious'', and ''Stage Fright''.〔 Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of ''To Catch a Thief'', where the two famously walked into a water tank after being starstruck by Hitchcock. Years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw "ice cubes in a glass of whiskey."〔Baecque, Antoine de and Toubiana, Serge. ''Truffaut: A Biography''. New York: Knopf. 1999. ISBN 978-0375400896. p. 195.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Claude Chabrol」の詳細全文を読む スポンサード リンク
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