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Tuesday, 25 July 2017

Vale Cécile Décugis - David Hare's English translation of Mary Stephen's Tribute

Mary Stephen
I was wrong about the interest in the tribute in French by Mary Stephen about her friend and fellow film editor Cécile Décugis. There have already been hundreds of page views of the post, no doubt assisted by Adrian Martin’s kind words and a link on his Facebook page.

Now serious cinephile David Hare has gone to the trouble of translating Mary’s wonderful memoir into English. Here it is and thanks David.

The young Cecile Decugis
Completely bowled over to hear of Cecile’s passing – last week I never would have thought it even possible.

I had begun to do editing for Eric Rohmer with Cecile who always maintained great gentleness with me, despite Eric’s strong remonstrations: “she’s making the other crew all cry, aren’t you scared of her?”

Last January on a whim I pulled up in my car where she lived, on the way back to my own place in Sevres, and we spent an afternoon together, while freezing outside in temperature, but completely warm in friendship, on the island of Seguin where she had often filmed over the years.

If Marie-Josette Yoyotte is gone, into the black screen of complete oblivion, the death of Cécile Décugis has passed in total silence. 

When Rohmer suggested I become his assistant on La Femme de l’Aviateur, (so I could earn a little dough and stay in France), he later asked me if I would accept the post of assistant, after having already made my first film. When I knew that Cecile had worked on A Bout de Souffle, which is such a mythical work for cinephiles all over the world, I told Eric I would have been happy to sweep the floors for Cecile.

Then followed years of friendship, much of it at a distance. She never made me cry, on the contrary she helped me get over youthful tears whenever there was a matter of heartbreak or slight at perceived injustices to me, as a young Chinese woman fresh from Canada.  A trip in her Renault 2CV to go out for couscous in the 15th Arrondissement... such careful attentiveness (which might surprise those who didn’t know her), a quite unlikely friendship perhaps which I regret to say I didn’t always acknowledge,  so I thought, when I returned to France in May.


That day together in January in winter she wanted to keep me longer, she brought me into the house, she gave me a DVD of her film about the demolition of the Renault plant on the island of Seguin. Earlier she had asked me for my opinion about her new film about her father, a short but emotional piece.  I was very moved by this film that she was struggling to finish with all kinds of galleys, editing, format mixing... at the time it was incredible for me and my children to see this woman at 86 or 87 keeping the faith as a filmmaker, and being able to carry on with her work almost to the end. I would have liked to be able to say a last farewell...
 
Never postpone a telephone call you could make today until tomorrow....


Cecile Decugis and film-maker Jackie Reynal

Monday, 24 July 2017

Vale Cécile Décugis - Mary Stephen's tribute to the film editor for the French New Wave

The film editor Cécile Décugis died on 11 June. Her death seems to have passed largely unnoticed in these parts at least.

Mary Stephen & Cécile Décugis (see link below)
Décugis started work in the late 50s her first credit being on Francois Truffaut’s Les Mistons (France, 1957) and after that she was an integral element of many of the films that remain the key markers of the French New Wave. Her next films were a short for Jean-Luc Godard and then, in the same year the legendary features A Bout de Souffle/Breathless (Godard, 1960) and Tirez sur la Pianiste/Shoot the Piano Player (Francois Truffaut, 1960). The list from then on until her retirement in 1996 is awesome indeed. You can find it here on Wikipedia. Her film-makers included Luc Moullet, Eric Rohmer (nine films), Jean-André Fieschi and Werner Schroeter.

My friend Mary Stephen, who was Rohmer’s editor for the last two decades of his career has written a tribute and published a memorial album of photos on Facebook. It’s in French so I guess the readership here will be limited but nevertheless I am happy to publish it to mark the passing of Cecile Décugis.

Mary writes: Complètement bouleversée d'apprendre la disparition de Cécile ... le mois dernier, que je ne savais pas ...

J'avais débuté en montage d'Eric Rohmer avec Cécile qui a toujours été d'une grande gentillesse avec moi, malgré les avertissements d'Eric à l'époque, "elle fait pleurer tous ses assistants, tu n'as pas peur?"

En janvier dernier, sur un coup de tête, j'avais arrêté ma voiture près de chez elle, en rentrant chez moi depuis Sèvres; on a ensuite passé un après-midi très froid en témperature extérieur mais chaleureux en échanges, sur l'île Séguin, qu'elle avait filmé pendant des années. 

Si Marie-Josette Yoyotte est partie, selon l'Ecran Noir, "dans l'indifférence générale" ... le départ de Cécile Decugis est passé dans le silence total.   Lorsque Rohmer m'avait proposé d'être son assistante sur La Femme de l'Aviateur (surtout afin que je puisse gagner un peu de sous et rester en France), il m'a demandé si j'accepterais un poste d'assistant après avoir réalisé déjà un premier film.  Lorsque j'ai su que Cécile a monté A bout de souffle, qui est pour nous - étudiants de cinéma du monde entier - une oeuvre mythique, j'ai répondu à Eric que je serais trop contente de balayer la salle de montage pour Cécile.

S'ensuivent des années d'amitié, surtout à distance.  Elle ne m'a jamais fait pleurer, au contraire, elle essuyait mes larmes de jeunesse lorsqu'il y a eu une peine de coeur ou qq injustices à mon égard, jeune Chinoise fraîchement débarquée du Canada.  Des trajets en voiture dans son 2CV, pour aller manger un couscous en bas de chez elle dans le 15ème...  une attention délicate toujours (qui surprend ceux qui ne la connait pas), une amitié assez invraisemblable, je suis remplie de regrets de ne pas avoir fait signe, comme j'avais pensé, dès que je suis rentrée en France en mai.  Ce jour-là en janvier, elle avait voulu me retenir plus longtemps, elle m'a fait entrer chez elle, elle m'a passé un DVD de son film sur la démolition de l'usine Regnault sur l'île Séguin.  Auparavant, elle m'avait demandé un avis concernant son nouveau film sur son père, un film court mais long en émotion.  J'étais très touchée par le film qu'elle peinait à finir avec des galères de tous genres, en montage, en format, en mixage ... à l'époque, mes enfants et moi, on s'est dit que c'est incroyable de voir ce bout de femme, à 86/87 ans, garder la foi de création personnelle et porter une oeuvre jusqu'au bout, toute seule ou presque. 

J'aurais tellement voulu lui dire un petit adieu.


Ne jamais rapportez à demain le coup de téléphone que vous pensez donner à quelqu'un ... faîtes-le aujourd'hui, sur le champ.


Credit for Cécile Décugis on Ma Nuit Chez Maud

Sunday, 23 July 2017

Streaming - Rod Bishop enthuses over FIVE CAME BACK (Laurent Bouzereau, USA, 2017) the story of Hollywood directors in WW2

The Second World War careers of John Ford, Frank Capra, John Huston, William Wyler and George Stevens.
Narrated by Francis Ford Coppola, Steven Spielberg, Laurence Kasdan, Paul Greengrass, Guillermo del Toro and Meryl Streep.

For the USA, documentary filmmaking grew up very fast during the war. These five Hollywood directors, who volunteered for army and naval service, looked back at the head-start achieved in Germany by Hitler and Goebbels, most notably with Leni Riefenstahl’s Triumph of the Will (1935). 
As Spielberg suggests, the five Hollywood fiction directors were thrown into the reality of the front lines with “no script and no third act”. Or as Colonel Frank Capra puts it: “I thought documentaries were something rich kooks made”.

This three-part, 196-minute television series from director Laurent Bouzereau plunders the very detailed accounts of these famous Hollywood directors from a book by Mark Harris. The TV series has the added advantage of drawing its visual strength from a plethora of archival footage and clips from both the directors’ wartime films and from the rest of their careers.

Episode 1
In the first part, viewers might be excused for thinking they had stumbled over the History Channel as Bouzereau furiously skates over the period leading to Pearl Harbor with crash-cuts and a pounding, triumphant score. Peter Debruge in Variety called it “somewhat snooze-inducing”, an unfair comment as things improve greatly in the second and third installments, making it more attractive to film buffs.
Frank Capra was an early volunteer, having enlisted only days after Pearl Harbor. He was given the tasks of encouraging civilians to join the armed forces and raising the morale both at home and on the battlefield. Capra contributed 12 films during the war, including the much celebrated seven-part Why We Fight series. In 1942, he directed Prelude to War, one of four films to jointly win the first ever Academy Award for Best Documentary Feature.

Another early enlister and joint winner of the inaugural Oscar for a documentary feature was Commander John Ford, who was wounded by shrapnel while making The Battle of Midway in 1942, his account of that decisive American victory in the Pacific.
The other joint winners of the first Oscar for a documentary feature in 1942 were director Ken G. Hall and cinematographer Damien Parer who delivered Australia’s first Academy Award with Kokoda Front Line! and Leonid Varlamov and Ilya Kopalin for Moscow Strikes Back.

Capra, Huston, Wyler, Stevens, Ford
Episode 2
Earlier on in Part Two there’s a surprising anecdote: discussing the problem of needing to sell the war, but only being allowed to portray “bloodless combat”, mention is made of a survey in Harlem that revealed half the residents thought they’d be no worse off if Japan won the war.
There’s also an interesting, if petty detail. Major William Wyler arrived in London to find John Ford unwillingly to help him – Ford is called a “glory hound”. Ford, meanwhile, had his own personality clashes in Algiers with studio boss Darryl F Zanuck when he was drafted into Zanuck’s Signal Corps. Lieutenant-Colonel George Stevens, meanwhile, took a circuitous route to Africa through South America in 1943 only to arrive days after the North African campaign had been won.

The hot-shot young member of the Five was Major John Huston, initially sent to a remote Pacific outpost where not much was happening, and made Report from the Aleutians (1943). He’d recently completed Across The Pacific (1942), billed as “Boy! When BOGART boffs those Japs…you can feel it ‘across the Pacific’”. Huston was then involved in what sounds like a fiasco, Tunisian Victory. Stung by the Brit success of winning the 1943 Oscar for Best Documentary with Desert Victory, the British filmmakers appear to have been forced into an ill-advised Allied collaboration with Huston, Capra and George Stevens. Tunisian Victory flopped.

However, William Wyler’s The Memphis Belle (1944), shot on Boeing B-17 bombing missions over Germany was so successful, it became the first film ever reviewed on the front page of The New York Times. Spielberg: “it’s one of the most stunning things I’ve ever seen”.

There are fascinating accounts of war racism, including the belief all Japanese were “inhuman monsters”, “rats”, “monkeys” and compared to a colony of pernicious ants. The German people, however, were not subjected to such vilification – it was Hitler who was the enemy. Cinematographer Gregg Toland directed a film about Pearl Harbor that was regarded as too racist to be finished and was later converted into the 30-minute short December 7th: The Movie (1943), co-directed by Ford and Toland. It won an Oscar for best documentary short. Wyler abandoned The Negro Soldier due to the racism he encountered in pre-production. It was later resurrected by Capra.

A film by Louis Hayward With the Marines at Tarawa (1944) finally broke new ground for the war documentaries, being the first to include footage of dead US soldiers.

In Italy, John Huston arrived days after the fight for San Pietro was over and set about restaging the three-day siege as The Battle of San Pietro (1944) using the real corpses still lying on the ground. Huston’s craft was so good, when Spielberg first saw the film, he thought all of the footage was real. A short clip shows Huston claiming he was “under fire a great part of the time”.


John Ford (in front of camera)
Episode 3
Part Three starts with George Stevens and John Ford supervising the huge task of filming D-Day. Harris’ book disputes that Ford ever left the landing craft, but Stevens is certainly visible on Omaha Beach. The D-Day carnage cost 4,000 Allied lives on that first day. Ford reacted with a 3-day alcoholic stupor, he was “belligerent and incoherent” and sent back to Washington. Thus, ended his war service.

Wyler’s success with The Memphis Belle led him to Italy to make a film about the Thunderbolt fighter and to record the liberation of Rome. He went AWOL to find his home town in Mulhouse, Alsace where his father’s old shop was still standing. Spielberg: “When he got back to Mulhouse, there was no one there. The Holocaust had claimed all of them. Hitler’s Shoah, Hitler’s genocide had been so successful, there was no one left”. Wyler suffered such profound hearing loss from his time filming in bombers, he was declared permanently deaf and returned home a disabled veteran.

After D-Day, George Stevens carried on “through the entire European theater”. He filmed the liberation of Paris and then “found himself on a long, cold, hard, brutal, violent slog to Germany”. Tens of thousands of Allied soldiers were either killed or injured in the Battle of the Bulge. Stevens finally reached Dachau where he bore witness to the pitiless horrors of the Nazi extermination camp. He stayed in Germany to complete two films used as evidence at the Nuremberg trials: Nazi Concentration and Prison Camps (1945) and The Nazi Plan (1945). He was never to be the same again.

Capra on Stevens’ return to Hollywood: “It took him quite a while to adjust…he became hard to talk with…maybe he just couldn’t express the horror that he’d been through. But he was a different person. He wasn’t the same George Stevens that left”.

Huston and Capra wrote the final version of Know Your Enemy - Japan in 1945 asking where blame should be aimed – the Emperor, the Japanese ruling class or the Japanese people. They portrayed the Japanese soldiers as “much alike, as photographic prints off the same negative”. Del Toro calls it “brutally jingoistic and horribly racist…a merciless, dehumanizing cartoon view of the Japanese”. The film’s narration: “Defeating this nation is as necessary as shooting down the mad dog in your neighborhood”. Three days after Hiroshima, General MacArthur wouldn’t allow the film to be shown to the troops.

At war’s end, the Five resumed their careers. Coppola: “Each of the five directors who went through the war, some were shot at, Ford was wounded, Wyler lost his hearing, and they saw terrible things and yet, coming out of it, each of them made possibly their greatest film”.

Huston directed the remarkable 60-minute doco Let There Be Light (1946), highlighting Post-Traumatic Stress Disorder before it had a name. He then directed one of his greatest works, The Treasure of the Sierra Madre (1948). Capra returned and immediately directed one of his greatest films, It’s a Wonderful Life (1945). Wyler also made one of his best, a three-hour saga of service men returning home, The Best Years of Our Lives (1948). He had regained 20% of his hearing in one ear. John Ford directed a fiction version of the Battle of the Philippines, They Were Expendable (1945), a film some regard as his best. Greengrass calls it “as much therapy as filmmaking”. Directing John Wayne, Ford is reported to have yelled “Can’t you salute like someone who’s actually been in service?

Perhaps the most poignant post-war career was George Stevens who turned to serious drama directing A Place in the Sun (1951), Shane (1953) and Giant (1956) before finally completing his war-film The Diary of Ann Frank (1959). It was 15 years since he’d been a witness to the ‘liberation’ of the Dachau death factory.

Before the war, Stevens was a highly respected director of comedies and light entertainment. After the war, he was a changed man. “I was a maker of comedies. I came back and I tried to make a comedy and I couldn’t do it”. He never directed a comedy again.
Still from They Were Expendable (John Ford, USA, 1945)