Alexandre Trauner
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Alexandre Trauner
Trauner, Alexandre (1906-93). A set-designer (of Hungarian origin) with probably the longest continuing career in French cinema—from assistant on Clair's A nous la liberté (1931) through to Besson's Subway (1985). His great achievement remains his sets for Carné, responsible as much as the actors or Prévert's scripts for the films' potent atmosphere.
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Alexandre Trauner
Biography
Hungarian art director Alexander Trauner originally aspired to become a painter. For this purpose, he left his native Budapest and moved to Paris. But there he instead became the assistant to distinguished French art director Lazare Meerson, the creator of "poetic realism," a studio- (rather than location) based movement of cinematic style. During the early '30s, he worked on many of René Clair's musical comedies and furthered his mentor Meerson's style. When the Nazis invaded France, Trauner (who was Jewish) went into hiding, but still managed to work uncredited on films. In that capacity he worked on Marcel Carné's Les Visiteurs du Soir (1942) and Les Enfants du Paradis (1945). In 1952, he created the exquisite sets for Orson Welles' Othello. Later he accepted the invitation of Billy Wilder and came to Hollywood where he worked on a wide variety of films ranging from The Apartment (1960) to Irma La Douce. Over his long, distinguished career, Trauner worked with such directors as Joseph Losey, Claude Berri, and Bertrand Tavernier. He worked on his 100th film, Reunion, in 1989. ~ Sandra Brennan, RoviFilmography:
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Alexandre Trauner
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Alexandre Trauner
Alexandre Trauner (as Sándor Trau on 3 August 1906 in Budapest, Hungary- 5 December 1993 in Omonville-la-Petite, France) was a production designer.
After studying painting at l'École des beaux-arts de Budapest, he emigrated to Paris in 1929, where he became the assistant of set designer Lazare Meerson, working on such films as À nous la liberté in 1932 and La Kermesse héroïque in 1935). In 1937, he became a chief set designer. [1]
He worked on the majority of Marcel Carné's films, including Drôle de drame (1937), Quai des brumes (1938), Hôtel du Nord (1938), Le Jour se lève (1939), and Les Enfants du paradis (1945).
He designed sets for Witness for the Prosecution (1957) by Billy Wilder and other Wilder films,[1] Don Giovanni (1979) by Joseph Losey, The Man Who Would Be King (1975) by John Huston and Subway (1985) by Luc Besson.
In 1980, he was a member of the jury at the 30th Berlin International Film Festival.[2]
See also
References
- ^ David Shipman "Obituary: Alexandre Trauner", The Independent, 21 December 1993
- ^ "Berlinale 1980: Juries". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1980/04_jury_1980/04_Jury_1980.html. Retrieved 2010-08-15.
External links
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Oxford Companion to French Literature
The New Oxford Companion to Literature in French. Copyright © 1995, 2005 by Oxford University Press. All rights reserved.
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