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Jacques Feyder (21 July 1885 – 24 May 1948) was a Belgian actor, screenwriter and film director who worked principally in France, but also in the USA, Britain and Germany. He was a leading director of silent films during the 1920s, and in the 1930s he became associated with the style of poetic realism in French cinema. He adopted French nationality in 1928. ==Career== Born Jacques Léon Louis Frédérix in Ixelles, Belgium, he was educated at the École régimentaire in Nivelles, and was destined for a military career. At age twenty-five however he moved to Paris where he pursued an interest in acting, first on stage and then in film, adopting the name Jacques Feyder. He joined the Gaumont Film Company and in 1914 he became an assistant director with Gaston Ravel. He started directing films for Gaumont in 1916, but his career was interrupted by service with the Belgian army during 1917-1919. After the end of the war, he returned to filmmaking and quickly built a reputation as one of the most innovative directors in French cinema. ''L'Atlantide'' (1921) (based on the novel by Pierre Benoit), and ''Crainquebille'' (1922) (from the novel by Anatole France) were his first major films to achieve public and critical attention. He followed these with ''Visages d'enfants'' (filmed in 1923 but not released until 1925) which proved to be one of his most personal and durable films. Shortly after this, Feyder was offered a post as artistic director of a new film company, Vita Films, in Vienna, along with a contract to make three films. He made ''L'Image'' (''Das Bildnis'') (1923), but the company failed and he returned to Paris.〔''Oxford Companion to Film'', ed. by Liz-Anne Bawden (Oxford: Oxford University Press, 1976) p.247.〕 He re-established himself with ''Gribiche'' (1926) and the literary adaptations of ''Carmen'' (1926) and ''Thérèse Raquin'' (1928). He also contributed screenplays of films for other directors, notably ''Poil de carotte'' (1925) for Julien Duvivier, and ''Gardiens de phare'' (1929) for Jean Grémillon. His last silent film in France was ''Les Nouveaux Messieurs'', a topical political satire which provoked calls for it to be banned in France for "insulting the dignity of parliament and its ministers".〔''International Dictionary of Film and Filmmakers: vol.2: Directors'', ed. by Tom Prendergast and Sarah Prendergast; 4th ed. (Chicago, London: St James Press, 2000) pp.325-328.〕 By this time Feyder had accepted an offer from MGM to work in Hollywood, where in 1929 his first project was directing Greta Garbo in ''The Kiss'', her last silent film. It was in Hollywood that he made the transition to sound films; even before he had worked with sound films, Feyder declared himself to be a firm believer in their future, in contrast with some of his French contemporaries.〔Roger Icart, ''La Révolution du parlant vue par la presse française'', (Toulouse: Institut Jean Vigo, 1988); quoted in ''The French Cinema Book'', ed. by Michael Temple and Michael Witt (London: BFI, 2004), p.172.〕 In 1930, he directed Jetta Goudal in her only French language film made in Hollywood, ''Le Spectre vert''. His subsequent work in the USA consisted mainly of directing foreign-language versions of American films, including a German version of ''Anna Christie'', again with Garbo. Disillusioned with the Hollywood system, Feyder returned to France in 1933. During the next three years he made three of his most successful films, all of them in collaboration with screenwriter Charles Spaak and featuring Françoise Rosay in a leading role. ''Le Grand Jeu'' (1934) and ''Pension Mimosas'' (1935) were both significant creations in the style of poetic realism; ''La Kermesse héroïque'' (1935) (also known as ''Carnival in Flanders'') was a meticulously staged period film with contemporary political resonances, which earned Feyder several international awards. Feyder went on to direct films in England and Germany prior to the outbreak of World War II, but with diminishing success. Following the Nazi occupation in 1940, which led to the banning of ''La Kermesse héroïque'', he left France for the safety of Switzerland, and directed a last film there, ''Une femme disparaît'' (1942).〔Ephraim Katz, ''The International Film Encyclopedia'', (London: Macmillan, 1980) p.414.〕 In 1917, Feyder had married Parisian-born actress Françoise Rosay (1891–1974) with whom he had three sons; she acted in many of his films and collaborated with him as writer and assistant director on ''Visages d'enfants''. Jacques Feyder died in 1948 at Prangins, Switzerland, and he was buried in the Cimetière de Sorel Moussel, Eure et Loir, France. A school (lycée) in Épinay-sur-Seine in the north of Paris was named in his honour in 1977; Épinay was the location of the Tobis film studios where Feyder made ''Le Grand Jeu'' and ''Pension Mimosas''. 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「Jacques Feyder」の詳細全文を読む スポンサード リンク
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