Sacha Guitry(1885-1957)
- Writer
- Director
- Actor
French actor, dramatist and director, Sacha Guitry was born in 1885 in
Saint-Petersburg where his father, actor Lucien Guitry, was under
contract with the city's French theater. Early on, Sacha knew he was
going to be an artist. Therefore, his studies were mediocre.
His acting debuts were not too encouraging either. It is as playwright
that Guitry obtained his first success in 1905 with two comedies, the
one act play 'Le K.W.T.Z' and the full-length play 'Nono'. Guitry's
career as dramatist was launched. In the following years, he became a
particularly prolific and popular writer, mostly of spiritual, caustic
comedies. In 1907, Guitry went back on stage to act in his own play
'Chez les Zoaques' and would perform in most of his subsequent plays.
In 1916, he directed his first film, 'Ceux de chez nous', a patriotic
documentary illustrating the works of some French artists like Auguste
Renoir or Auguste Rodin. In 1917, he wrote and played in the movie 'Un
Roman d'amour et d'aventures' under the direction of René Hervil and
Louis Mercanton, an experience that left him unsatisfied.
It is only in 1935 that he came back in the movie studio to direct and
act in 'Pasteur', a biography of the famous scientific. The film, based
on a play Guitry wrote in 1919, was a commercial failure, but during
the shooting, Guitry fell in love with the process of filmmaking. From
then on, he would continue to write and act in new stage plays, but
making movie also became an important part of his life.
He followed 'Pasteur' with 'Bonne chance', a comedy written directly
for the screen. In 1936 alone, Guitry released no less than four
movies, including the film versions of two of his best known plays:
'Faisons un rêve' (written in 1916), and 'Mon Père avait raison'
(written in 1919). He also directed 'Le Roman d'un tricheur', this time
from a short story he published in 1934. Despite lukewarm reviews, the
movie was well received by the public and was also successful in the
USA. It is now considered his most innovative film.
In 1937, he wrote 'Les perles de la couronne', and co-directed it with
Christian-Jacque. An ambitious and expensive historical fantasy
featuring a prestigious casting, the film was both a critical and
commercial success. Guitry continued in the same vein the following
year with 'Remontons les Champs Élysées'. The Second World War didn't
stop his activities. During the occupation, he notably directed and
played in the historical film 'Le Destin fabuleux de Désiré Clary'
(1942), the sentimental drama 'Donne-moi tes yeux' (1943) and the
biography 'La Malibran' (1944).
It is well established that during that period, Guitry had occasional
contacts with members of the occupying forces, though he worked only
with French independents producers, didn't allowed his plays to be
performed in Germany, and had some problems with the German censorship.
But he also managed to maintain a lavish lifestyle that was in sharp
contrast with the life of deprivation that was the fate of most of his
contemporaries.
It is possibly for that reason that, in August 1944, after the
liberation of Paris, Guitry was arrested at his home following an
anonymous denunciation. He was set free after two months in jail but
though no official accusations were laid against him, he was forbidden
to appear on stage or on screen. Finally, in 1947, he was cleared of
any wrong-doings and allowed to resume his work. But his reputation was
tarnished and in the years to come, he would frequently face the
hostility of a certain press.
For his come-back, Guitry wanted to make a movie about historical
figure Charles-Maurice de Talleyrand, but his screenplay was rejected
by the authorities. So, Guitry adapted his scenario for the theatre and
took the title role. Many commentators accused him to indulge in a
self-justification attempt, but the play was a success and Guitry was
finally able to turn it into the movie 'Le Diable boîteux' (1948).
Guitry continued to be as prolific, writing new plays, reviving old
successes, penning screenplays, directing movies. But the cheerfulness
of the pre-war works was replaced by a more acerbic humor like in the
film 'La Poison' (1951), a movie that attracted mostly negative reviews
when it came out but is today considered one of his best films.
There was a change of mood in 1953 with the release of 'Si Versailles
m'était conté', another high budget historical fantasy that obtained a
great success. At that time, Guitry's health was deteriorating, forcing
him to give-up stage acting at the end of 1953. Despite his poor shape;
Guitry, galvanized by the reception of 'Si Versailles m'était conté',
wrote and directed two other historical dramas 'Napoléon' (1954) and
'Si Paris nous était conté' (1956). His general condition was so bad
that, for that last film, he authorized the producer to use
Henri-George Clouzot and Marcel Achard as back-ups, should he be in the
impossibility to complete the film. Guitry finished his career with two
comedies 'Assasins et voleurs' (1955), and 'Les Trois font la paire'
(1957). He died during the summer of 1957.
Guitry's movies are only part of his legacy. He also left us above 100
plays, countless 'bons mots' and the memory of a flamboyant, often
controversial personality. His films were often held in low esteem by
the critics. Some of those movies were shot really fast (11 days for
'La Poison', 8 days for 'Faisons un rêve' and 'Mon Père avait raison').
Whether they are based on a play or not, dialogues are always paramount
in his films, and when he adapted his plays, he never tried to hide
their theatrical origin. Oddly enough, the films that were highly
praised when they came out are not the ones best regarded today.
Saint-Petersburg where his father, actor Lucien Guitry, was under
contract with the city's French theater. Early on, Sacha knew he was
going to be an artist. Therefore, his studies were mediocre.
His acting debuts were not too encouraging either. It is as playwright
that Guitry obtained his first success in 1905 with two comedies, the
one act play 'Le K.W.T.Z' and the full-length play 'Nono'. Guitry's
career as dramatist was launched. In the following years, he became a
particularly prolific and popular writer, mostly of spiritual, caustic
comedies. In 1907, Guitry went back on stage to act in his own play
'Chez les Zoaques' and would perform in most of his subsequent plays.
In 1916, he directed his first film, 'Ceux de chez nous', a patriotic
documentary illustrating the works of some French artists like Auguste
Renoir or Auguste Rodin. In 1917, he wrote and played in the movie 'Un
Roman d'amour et d'aventures' under the direction of René Hervil and
Louis Mercanton, an experience that left him unsatisfied.
It is only in 1935 that he came back in the movie studio to direct and
act in 'Pasteur', a biography of the famous scientific. The film, based
on a play Guitry wrote in 1919, was a commercial failure, but during
the shooting, Guitry fell in love with the process of filmmaking. From
then on, he would continue to write and act in new stage plays, but
making movie also became an important part of his life.
He followed 'Pasteur' with 'Bonne chance', a comedy written directly
for the screen. In 1936 alone, Guitry released no less than four
movies, including the film versions of two of his best known plays:
'Faisons un rêve' (written in 1916), and 'Mon Père avait raison'
(written in 1919). He also directed 'Le Roman d'un tricheur', this time
from a short story he published in 1934. Despite lukewarm reviews, the
movie was well received by the public and was also successful in the
USA. It is now considered his most innovative film.
In 1937, he wrote 'Les perles de la couronne', and co-directed it with
Christian-Jacque. An ambitious and expensive historical fantasy
featuring a prestigious casting, the film was both a critical and
commercial success. Guitry continued in the same vein the following
year with 'Remontons les Champs Élysées'. The Second World War didn't
stop his activities. During the occupation, he notably directed and
played in the historical film 'Le Destin fabuleux de Désiré Clary'
(1942), the sentimental drama 'Donne-moi tes yeux' (1943) and the
biography 'La Malibran' (1944).
It is well established that during that period, Guitry had occasional
contacts with members of the occupying forces, though he worked only
with French independents producers, didn't allowed his plays to be
performed in Germany, and had some problems with the German censorship.
But he also managed to maintain a lavish lifestyle that was in sharp
contrast with the life of deprivation that was the fate of most of his
contemporaries.
It is possibly for that reason that, in August 1944, after the
liberation of Paris, Guitry was arrested at his home following an
anonymous denunciation. He was set free after two months in jail but
though no official accusations were laid against him, he was forbidden
to appear on stage or on screen. Finally, in 1947, he was cleared of
any wrong-doings and allowed to resume his work. But his reputation was
tarnished and in the years to come, he would frequently face the
hostility of a certain press.
For his come-back, Guitry wanted to make a movie about historical
figure Charles-Maurice de Talleyrand, but his screenplay was rejected
by the authorities. So, Guitry adapted his scenario for the theatre and
took the title role. Many commentators accused him to indulge in a
self-justification attempt, but the play was a success and Guitry was
finally able to turn it into the movie 'Le Diable boîteux' (1948).
Guitry continued to be as prolific, writing new plays, reviving old
successes, penning screenplays, directing movies. But the cheerfulness
of the pre-war works was replaced by a more acerbic humor like in the
film 'La Poison' (1951), a movie that attracted mostly negative reviews
when it came out but is today considered one of his best films.
There was a change of mood in 1953 with the release of 'Si Versailles
m'était conté', another high budget historical fantasy that obtained a
great success. At that time, Guitry's health was deteriorating, forcing
him to give-up stage acting at the end of 1953. Despite his poor shape;
Guitry, galvanized by the reception of 'Si Versailles m'était conté',
wrote and directed two other historical dramas 'Napoléon' (1954) and
'Si Paris nous était conté' (1956). His general condition was so bad
that, for that last film, he authorized the producer to use
Henri-George Clouzot and Marcel Achard as back-ups, should he be in the
impossibility to complete the film. Guitry finished his career with two
comedies 'Assasins et voleurs' (1955), and 'Les Trois font la paire'
(1957). He died during the summer of 1957.
Guitry's movies are only part of his legacy. He also left us above 100
plays, countless 'bons mots' and the memory of a flamboyant, often
controversial personality. His films were often held in low esteem by
the critics. Some of those movies were shot really fast (11 days for
'La Poison', 8 days for 'Faisons un rêve' and 'Mon Père avait raison').
Whether they are based on a play or not, dialogues are always paramount
in his films, and when he adapted his plays, he never tried to hide
their theatrical origin. Oddly enough, the films that were highly
praised when they came out are not the ones best regarded today.