• Born: Oct 30, 1932 in Thumeries, France
• Died: Nov 23, 1995 in Beverly Hills, California
• Occupation: Director, Writer, Cinematographer, Actor
• Active: '60s-'90s
• Major Genres: Drama, Culture & Society
• Career Highlights: My Dinner With Andre, Le Feu Follet, Vanya on 42nd Street
• First Major Screen Credit: The Silent World (1956)

Biography

One of France's most renowned directors, Louis Malle first gained recognition as a member of his country's New Wave movement of the 1950s. He went on to direct films of great breadth and variety, consciously avoiding the temptation to repeat himself. Many of Malle's films tended to be very personal affairs that focused on some form of societal exclusion, and on more than one occasion he rejected opportunities to work in Hollywood so as to have more time to lavish greater attention on his individual projects. His efforts paid off: By the time of his death from cancer in 1995, Malle was hailed for his invaluable contributions to both French and world cinema.

Born into great wealth, Malle had the advantages of an expensive college education, which started in the study of Political Science but ended up with filmmaking classes. A protégé of underwater photographer/director Jacques-Yves Cousteau, he received his first director's credit on Cousteau's The Silent World (1956), which served to introduce both men to the international film scene. After working as an assistant to cult-favorite director Robert Bresson, Malle made his first solo film, the award-winning Ascenseur Pour L'Echafaud/Frantic (1957), a mystery-melodrama in the Diabolique mold and distinguished by an improvisational Miles Davis music score and powerful performance by Jeanne Moreau.

With Les Amants/The Lovers (1959), Malle gained notoriety for staging what were then considered graphic sex scenes, pushing the boundaries of American censorship. Fortunately, the film's underlying message -- an attack on French class consciousness -- was appreciated by a number of film critics who managed to look beyond the sensation surrounding the film, for which the director won several festival awards. His next effort, Zazie Dans Le Metro (1960), was as harmless as his previous film had been controversial; a gleefully impertinent comedy, it told the story of a young girl who runs away from her relatives and the chaos created by her flight.

Malle once again raised eyebrows in America with 1962's La Vie Privée/A Very Private Affair, a Brigitte Bardot vehicle allegedly based upon the actress' own life. The more serious international critics were impressed by his next film, Le Feu Follet/The Fire Within (1963), the alternately repellent and fascinating account of the last days in the life of an alcoholic (played by Maurice Ronet). As with Ascenseur Pour L'Echafaud, Le Feu was enhanced by a strong music score, composed in this case by Erik Satie. More controversy came the director's way with his 1969 documentary L'Inde Fantome/Phantom India, which caused the Indian government to lodge a complaint against Malle's unblinking look at the country's appalling poverty. Le Souffle au Coeur/Murmur of the Heart (1971), an Italian-German co-production, was a gentle comedy about the subject of incest and family values, while Lacombe Lucien (1974) was a dissection of France under Nazi occupation; both films, however, tended to solidify Malle's reputation as a "sex" director in the eyes of those who couldn't see beyond this element.

Sex was a theme once again in Pretty Baby (1978), Malle's first American film, in which Brooke Shields (in her first important role) played a 12-year-old New Orleans prostitute. The film stirred up the would-be censors of the world, but the fuss was truly unnecessary; the film was more atmospheric than erotic, eschewing graphic depiction for thought-provoking insights on the nature of desire. Malle's next effort, Atlantic City (1980) was widely hailed as his best American film, featuring topnotch performances from Burt Lancaster and Susan Sarandon. What might have become a seamy look at American subculture in lesser hands became a life-affirming romance, making an unlikely hero out of an erstwhile drug courier. The film won numerous international honors, including a British Academy Award for Best Direction for Malle. Similarly acclaimed was My Dinner with André (1982), a filmed dialogue between experimental theater director André Gregory and actor/playwright Wallace Shawn; a testament to Malle's skill as a director, the film managed to be absorbing enough to hold audiences for what was essentially a 90-minute conversation.

Malle subsequently received some of the greatest acclaim of his career with Au Revoir Les Enfants (1987). Based upon his own experience as a young boy in Nazi-occupied France, the film was a cathartic portrait of courage, betrayal, and the horrible effects of anti-Semitism. It won numerous international awards, including three French Césars -- for Best Film, Director, and Screenplay -- and was praised for its unsentimental depiction of unlikely friendship and lost innocence. Commuting between Europe and the U.S. during the last few years of his life (often in the company of his third wife, actress Candice Bergen), Malle continued to offer works of great visual beauty and muted social observation, with May Fools (1989) and the controversial Damage (1992) keeping him in the international spotlight. He directed his last film in 1994; a triumphant, unorthodox adaptation of Chekov's play as directed by previous collaborator André Gregory, Vanya on 42nd Street was a radiant end to Malle's long and distinguished career. He died of cancer on November 23, 1995, survived by wife Bergen and their daughter Chloe. ~ Hal Erickson, All Movie Guide

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French director Louis Malle (1932-1995) was both a part of and separate from French cinema's new wave. By showing audiences the humanity beneath his characters' moral failings, Malle became one of the most celebrated directors of postwar cinema. His films, in French and English, won acclaim and sparked controversy in his native France and America.

Malle was one of eight children born to a wealthy family in northern France. His mother's family owned a giant sugar concern, and his farther, a former naval officer, ran the family's sugar factory. Wealth provided Malle with private tutors at the family's chateau in Thumeries, France. He spent his summers in Ireland and became fluent in English. Malle was eight when World War II broke out and his family went to Paris. Rebelling against his religious education and bourgeois upbringing, Malle sought refuge in the cinema.

Career Began Undersea

At the end of World War II, Malle studied political science; however, against the wishes of his family, he soon switched to the Institut des Hautes Etudes Cinematographiques. Malle's 40-year career began with his direction of the 1956 undersea documentary Le Monde du silence, or The Silent World. He had left school to assist undersea explorer Jacques-Yves Cousteau aboard his boat, the Calypso. Malle shot footage in 1954 and 1956 to create Silent World. The film captured the Palme d'Or at the 1956 Cannes Film Festival and won an Academy Award for best documentary in 1957. "When I started out, it infuriated me that people seemed to think I could never be anything but a dilettante -that I was riding on my family's money. It was not true, " Malle told a writer for French newspaper Le Monde. Having something to prove perhaps inspired Malle to work all the harder.

Sexual Themes Caused Controversy

Malle became famous with his film Les Amants, (also known as The Lovers; 1958) about the sexual awakening of a middle-class woman. With Lovers, Malle broke taboos about on-screen eroticism. An Ohio theater was convicted of obscenity charges for showing the film. The success was followed by Zazie dans le metro (also known as Zazie in the Underground; 1960), a comedy about an eleven year old girl's visit to Paris with her uncle. Other films in French followed, including the documentary Calcutta L'Inde Fantome (also known as Phantom India; 1969), a seven-part television series made from film shot during Malle's six-month sojourn in India.

Lacombe, Lucien (1974) sparked the career of at least one filmmaker: Jodie Foster. "As a young moviegoer and aspiring filmmaker, I left my first Louis Malle film that day and said, 'That's it. That's what I want to do, "' Foster wrote in a tribute to Malle in Premier magazine following his death. Foster's directorial debut, Little Man Tate, was inspired by Malle's Murmur of the Heart (1971). She continued, "I loved the awkwardness, complexity, and pain of the adolescent boy in the film. He wasn't just a cute little prop filled with ironic witticisms. He was suffering and became impossible because he couldn't name his fears."

Murmur of the Heart (also known as Le Souffle Au Coeur; 1971) is the story of an incestuous encounter between a mother and her son while the two are away at a spa for treatment of his heart murmur. Malle countered conventional ideas of morality and incest by having the boy walk away from the tryst emotionally unscathed. "I'm always interested in an aspect of the truth which goes against preconceived ideas, including mine. So I end up working on material that often has something controversial about it, " Malle once said.

Childhood Shaped Work

Many of Malle's films tell their stories through the eyes of children whose perspective is shared by the audience. Malle had three of his own. Malle's first marriage to Anne-Marie Deschodt ended in divorce. It wasn't until Malle was in his mid-40s that he married American actress Candice Bergen in 1980. The couple's daughter, Chloé, was born in 1985 in New York. Malle also fathered two children during the 1970s by actresses Gila von Weitershausen and Alexandra Stewart.

Malle wrote, produced and directed Lacombe, Lucien (1974) nearly 30 years after World War II, and it was inspired, in part, by a pivotal childhood event he would later document in another film set during World War II, Au revoir les enfants. The part of Lucien is played by Pierre Blaise, a woodsman who had never acted before. As is evidenced by casting in Au revoir and Murmur, Malle preferred using child and young actors with little or no experience. "With very few exceptions, professional child actors are so gimmicky, they're like little monkeys, they scare me, " he commented in Horizon magazine.

Pretty Baby (1978), Malle's first American film, is another initiation story with controversial sexual content. American actress Brook Shields, in her first important film role, portrays Violet, a young girl reared in a brothel in the New Orleans' Storyville section. The story was inspired by a 1970 New York Museum of Modern Art exhibition of photographs of prostitutes taken by Ernest James Bellocq around 1912 around New Orleans' infamous red light district. Violet's eyes are also those of the audience to whom the world of her prostitute mother is revealed as Violet moves through the brothel and the streets of Storyville. Pretty Baby was criticized for having no moral point of view, an assessment Malle disagreed with in a 1990 Newsday interview. "This was a true story that fascinated me. There was nothing graphic about the movie."

Atlantic City (1980) garnered Malle an Academy Award nomination for best director in 1982. The film was nominated for best picture and it is another Malle film in which the transformation of characters happens against the backdrop of their changing environment. My Dinner with Andre (1981) was the filmed conversation over dinner between two actors who wrote and improvised their dialogue. Despite its static setting, the film won Malle much acclaim in America. Less successful were subsequent efforts Crackers (1983) and Alamo Bay (1985).

Goodbye Children

Perhaps Malle's most noteworthy film and certainly his most personal is Au revoir les enfants (also known as Goodbye, Children), released in 1987. This film marked Malle's return to French filmmaking after years in America. Written and directed by Malle, the film is based on a childhood event that haunted the artist all his life, one which took years to commit to film.

Malle was eleven when his Jesuit boarding school sheltered three Jewish boys from the Nazis. Set in the German-occupied France of 1944, the film tells the story of friendship between one of the boys, Jean Bonnet, and Julien Quentin, a wealthy young Catholic boy and the character representing Malle as a child. In the film and in reality, the boys and the school's priest-director were betrayed to the Nazis and arrested by the Gestapo. As the Germans took the four away to be executed in the Nazi death camps, the school director turned to Malle and the other remaining students and said, "Au revoir, les enfants … á bientoÃt" (meaning "Goodbye, children … see you soon").

Malle revealed in an interview for Le Monde, that his friendship with the real Bonnet never existed. "I was the good student, the star pupil. He was bigger, stronger, better than me. I hated him. We did not know that our days together were numbered. Afterward, I could never get rid of the idea that all of us, I and the others, were a little guilty of his death-maybe just because we belonged to the human race. More than 40 years later, I finally wanted to tell Bonnet that I liked him." Au revoir gave Malle's career a boost in the United States where it won larger audiences than those typically attending art house films. The film won the Golden Lion at the Venice Film Festival, the Prix Louis-Dellec in 1987, and the Felix Award from the European Film Awards in 1988; Au revoir was also nominated for an Academy Award for best original screenplay and for a British Academy of Film and Television Arts Award for best director.

Among Malle's last work is the production Vanya on 42nd Street (1994), a filming of a rehearsal performance of David Mamet's reworking of Anton Chekhov's Uncle Vanya. Stage actors recreate the play in their street clothes, and the film's dialogue is interwoven with that of the play. Malle's other films include Ascenseur Pour L'Echafaud (Frantic), 1957; Vie Privee (A Very Private Affair), 1961; Le Feu Follet (The Fire Within), 1963; Viva Maria, 1965; Le Voleur (The Thief of Paris), 1966; Histoires Extraodinaires (Spirits of the Dead), 1967; Humain, Trop Humain, 1973, a documentary; Black Moon, 1975; And the Pursuit of Happiness, 1986, a documentary; Milou en mai (May Fools), 1990; and Damage, 1992.

Malle died November 23, 1995, at 63 of complications from lymphoma; he was buried in France. "For me, his work opened up a glimpse into humanity that I had never seen before, an eye toward forgiveness that no other person, place, or thing had ever presented to me, " actress Jodie Foster wrote in her tribute to Malle.

Further Reading

Malle, Louis, Malle on Malle, Faber & Faber, 1992.

American Film, July 1990.

Detroit News, November 25, 1995.

Entertainment Weekly, December 8, 1995.

Horizon, January-February, 1988.

Newsday, November 25, 1995.

New York Times, November 25, 1995; December 3, 1995; March 1, 1996.

Premiere, February 1996.

San Francisco Chronicle, November 25, 1995.

Time, January 4, 1993.

Time International, March 22, 1993.

U.S. News & World Report, February 15, 1988.

Variety, November 27, 1995.

Vogue, June 1990.

World Press Review, January 1988.

For more information on Louis Malle, visit Britannica.com.

(lwē mäl) , 1932–95, French film director, b. Thumeries, France. Malle's motion pictures are noted for their nonjudgmental approach to often taboo material, for which he sought to cause the audience to reevaluate its attitudes. The Fire Within (1963), for example, concerns the last hours of a man approaching suicide, Murmur of the Heart (1971) with incest, and Lacombe, Lucien (1974) with the French resistance and collaboration during World War II. Frequently centering on social outsiders, his diverse, innovative, and deeply personal films explore human relationships in a manner that is at once clear-eyed and romantic. Malle began making feature films in France during the 1950s, creating some of his most memorable works during the 1960s and 70s, e.g., The Thief of Paris (1966), Murmur of the Heart, and Lacombe, Lucien. For several years he worked in the United States, where his English-language films included the controversial Pretty Baby (1978), the elegiac Atlantic City (1980), and the hilarious My Dinner with André (1981). Malle returned to France in 1986, where he directed such films as Au Revoir les Enfants (1987) and Damage (1992). He also made several memorable documentaries.

Quotes:

"I think predictability has become the rule and I'm completely the opposite -- I like spectators to be disturbed."

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