Style
With the exception of the comedy film Miquette et sa mère, every directorial feature of Clouzot involves deception, betrayal and violent deaths. When basing screenplays on written work, Clouzot often changed the stories dramatically, using only key points of the original story. The author Stanislas-André Steeman, whom Clouzot worked with twice, said Clouzot would only "build something after having contemptuously demolished any resemblance to the original, purely for the ambition of effect". When writing for his own features, Clouzot created characters that were usually corrupt and spineless, with the capacity for both good and evil within them.
Clouzot was very demanding with his actors and would often quarrel with them to get them in the mood he desired. Suzy Delair recalled that Clouzot slapped her, but said of it, "So what? He slapped others as well...He was tough but I'm not about to complain". Pierre Fresnay recalled that Clouzot "worked relentlessly, which made for a juicy spectacle...That's to say nothing for his taste of violence, which he never tried with me". When working with Bardot, one scene required Bardot's character to drool and sleep. Clouzot offered her powerful sleeping pills, saying they were aspirin, and this led to Bardot's stomach being pumped. Although Clouzot was harsh on his actors, he did not treat them fiercely off set. Delair recalled that off set there was an "innocence about him" that was not seen.
Clouzot biographer Marc Godin suggested Clouzot's life provides clues to understanding his style as a filmmaker. Clouzot was viewed by many of his collaborators as a pessimist, short-tempered, and almost always angry. Actress Brigitte Bardot described Clouzot as "a negative being, forever at odds with himself and the world around him". Clouzot's outlook on life is reflected in his own films that reveal the darker side of humanity.
Read more about this topic: Henri-Georges Clouzot
Famous quotes containing the word style:
“Where there is no style, there is in effect no point of view. There is, essentially, no anger, no conviction, no self. Style is opinion, hung washing, the calibre of a bullet, teething beads.... One’s style holds one, thankfully, at bay from the enemies of it but not from the stupid crucifixions by those who must willfully misunderstand it.”
—Alexander Theroux (b. 1940)
“On the first days, like a piece of music that one will later be mad about, but that one does not yet distinguish, that which I was to love so much in [Bergotte’s] style was not yet clear to me. I could not put down the novel that I was reading, but I thought that I was only interested in the subject, as in the first moments of love when one goes every day to see a woman at some gathering, or some pastime, by the amusements to which one believes to be attracted.”
—Marcel Proust (1871–1922)
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)