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Revered by such legendary fellow directors as Ingmar Bergman and Jean Renoir, Julien Duvivier is one of the most legendary figures in the history of French cinema. He is perhaps the most neglected of the "Big Five" of classic French cinema (the other four being Jean Renoir, Rene Clair, Jacques Feyder, and Marcel Carne), partly due to the uneven quality of his work. But despite his misfires, the cream of his oeuvre is simply stellar and deserves to be mentioned in the same breath as filmdom's most breathtaking masterpieces. Initially working as a stage actor, Duvivier began his movie career in 1918 as an assistant to such seminal French helmsmen as Louis Feuillade and Marcel L'Herbier. A year later, he directed his first film, "Haceldama ou le prix du sang" (1919), which was not successful and evinced nothing of the lyricism and beauty that would define the director's later work. He continued directing, however, eventually earning a job with Film D'Art, a production company founded by producers Marcel Vandal and Charles Delac. It was here, at Film D'Art, that Duvivier was to really find his way at an artist. In the 1930s, Duvivier's talents came into full bloom, beginning with "David Golder" in 1930. Duvivier's subsequent efforts in this decade, aided by the advent of sound in motion pictures, would establish Duvivier as one of the leading forces in world cinema. It was also in the 1930s that Duvivier began working with Jean Gabin, an actor who would appear in many of Duvivier's most career-defining films, most notably "Pepe le Moko" (1937). "Pepe" was the cracklingly entertaining story of a sly gangster and master thief (Gabin) who lives in the casbah section of Algiers. A prince of the underworld, Pepe's criminal mastery is shaken when his arch nemesis Inspector Slimane, exploits a young Parisian beauty as a ploy to capture this most elusive the casbah's crooks. The latter film made Jean Gabin an international star and also attained enough popularity and critical acclaim to earn Duvivier an invitation from MGM to direct a biopic of great director Johann Strauss, entitled "The Great Waltz" (1938). Duvivier found Hollywood agreeable and would later return there during WWII. His wartime output was of varied quality, one of the most meritorious being "Tales of Manhattan" (1942). Duvivier returned to France after the war, where he found his reputation and standing to be badly damaged by his absence during the war years. He continued to work in France for the remainder of his life, however, eventually regaining success with such films as the Fernandel vehicle "Le Petit monde de Don camilo" (1951) which as awarded a prize at the Venice Film Festival. Duvivier had just completed production on his final project, "Diaboliquement vôtre" (1967), when he was killed in an auto accident at the age of 71. Though his life and career ended with this tragic accident, his legacy lives on through his films and in the minds and hearts of many.- Actor
- Soundtrack
This veteran character and his younger brother, western actor Jack Rockwell, were born to American parents south of the border in Vera Cruz, Mexico in 1882. Charles Trowbridge was educated in Napa, California and Hawaii, then studied for his degree at Stanford University. He forsook a thriving career as an architect in his twenties for stage acting, receiving early training at the Alcazar Theatre in San Francisco with Bert Lytell and Bessie Barriscale. He then moved to New York where he earned a number of regional roles in the Chicago, Boston and Philadelphia areas before making his Broadway bow with "The Marriage Game" in 1913. He proceeded to build up his resume impressively with the plays "Daddy Long Legs" in 1914 and when it was revived in 1918, "The Broken Wing (1920), "Craig's Wife (1925), "Ladies Leave" (1929) and "Dinner at Eight" (1933). He made a sampling of silents over the years as well, primarily in drama, with The Fight (1915), Thais (1917) and The Eternal Magdalene (1919) to name a few. After co-starring opposite Corinne Griffith in Island Wives (1922), however, he was not seen again for nearly a decade.
After a steady diet of Broadway plays, he was signed by Paramount for character roles in sound pictures and proceeded to support the top stars. With his rangy build, piercing blue eyes, premature gray hair and serious countenance, Trowbridge was particularly useful throughout the 1930s and 1940s in crime yarns, horrors and in rugged settings starting out with Gary Cooper and Carole Lombard in the romantic drama I Take This Woman (1931). Trowbridge usually adopted a friendly but intelligent, officious demeanor as assorted doctors, judges, bankers, lawyers, military brass and even U.S. presidents. He appeared rather indiscriminately in a number of "A" quality films including Captains Courageous (1937), Meet John Doe (1941), Sergeant York (1941) and Mildred Pierce (1945), and in popular cliffhangers such as King of the Texas Rangers (1941), Adventures of the Flying Cadets (1943) and Captain America (1944). He often played well-meaning victims who died in the first reel, notably in horrors. His last two films were unbilled bits, courtesy of John Ford, in The Wings of Eagles (1957) and The Last Hurrah (1958). Retired thereafter, Trowbridge passed away a number of years later at age 85.