Career Highlights: À Nous la Liberté, Le Silence Est d'Or, Le million
First Major Screen Credit: Le Sens De La Mort (1921)
Biography
In 1920 René-Lucien Chomette began acting in films under the name René Clair. He performed in Louis Feuillade's 1921 serials L'Orpheline and Parisette, but in 1924 he began writing and directing his own films with the comic fantasy Paris Qui Dort (The Crazy Ray). Through the '20s Clair would make some of the most original and admired works of early French cinema, including the avant-garde short Entr'acte, the landmark early musicals Sous Les Toits De Paris and Le Million, and the classic satire A Nous La Liberté. Working in England and the United States during the 1930s and '40s, his films were dominated (sometimes overly so) by fantasy and whimsy, but he managed to inject some healthy venom into the Agatha Christie mystery And Then There Were None. He returned to Europe for his films of the 1950s and '60s, most notably La Beauté Du Diable (Beauty And The Devil) and Les Belles De Nuit (Beauties Of The Night). ~ All Movie Guide
He was born in Paris and grew up in the Les Halles quarter. He attended the Lycée Montaigne and the Lycée Louis-le-Grand. During World War I, he served as an ambulance driver. After the war, he started a career as a journalist under the pseudonym René Desprès. He also made his debut as an actor and became the assistant of Jacques de Baroncelli and Henri Diamant-Berger.
In 1924, he produced his first films, Entr'acte and Paris qui dort, which were followed by a quick succession of notable films. During World War II, he went to Hollywood and was stripped of his French citizenship by the Vichy government.
He was given an honorary doctorate by the University of Cambridge and received the Grand Prix du Cinéma Français in 1953. In 1960, he was elected to the Académie Française. He came to personify French film, and the prize for film awarded by the Académie Française bears his name.
Clair started making films before the advent of sound, and therefore had very conflicting views of its uses; he was forced to use sound in his films for financial success. However, in lieu of creating films from theater plays like other French directors, Clair used sound to take the audience out of the narrative and into a different reality.
Entr'acte (1924) •Paris qui dort (1924, a/k/a The Crazy Ray) •La Tour (1928) •Forever and a Day (1943, segment "1897") •La Française et l'amour (1960, segment "Le Mariage") •Les Quatre vérités (1962, segment "Les Deux Pigeons")