le Quartier de l'amour et de l'espoir / le Garçon vendeur de colombes (Ai to kibo no machi, 1959) ; Contes cruels de la jeunesse (Seishun zankoku monogatari, 1960) ; l'Enterrement du soleil (Taiyo no hakaba, id.) ; Nuit et brouillard du Japon (Nihon no yoru to kiri, id.) ; le Piège / Une bête à nourrir (Shiiku, 1961) ; le Révolté (Amakusa Shiro Tokisada, 1962) ; le Voyage aventureux d'un gosse (Chiisana boken ryoko, 1964, MM) ; C'est moi Bellett (Watashi wa Bellett, id., CM) ; les Plaisirs de la chair (Etsuraku, 1965) ; le Journal de Yunbogi (Yunbogi no nikki, id., CM) ; l'Obsédé en plein jour (Hakuchu no torima, 1966) ; Carnets secrets des Ninja (Ninja bugeicho, 1967) ; Traité des chansons paillardes japonaises (Nihon shunkako, id.) ; Été japonais : double suicide contraint (Muri shinju : Nihon no natsu, id.) ; la Pendaison (Koshikei, 1968) ; le Retour des trois soûlards (Kaettekita yopparai, id.) ; Journal d'un voleur de Shinjuku (Shinjuku dorobo nikki, id.) ; le Petit Garçon (Shônen, 1969) ; Il est mort après la guerre (Tokyo senso sengo hiwa, 1970) ; la Cérémonie (Gishiki, 1971) ; Une petite sœur pour l'été (Matsa no imôto, 1972) ; l'Empire des sens (Ai no korida, 1976) ; l'Empire de la passion (Ai no bôrei, 1978) ; Furyo (Senjo no Merry Xmas/Merry Xmas, Mr. Lawrence, 1983) ; Max mon amour (1986) ; Kyoto, My Mother's Place (MM, T.V., 1991) ; Cent Ans de cinéma (T.V., 1995) ; Tabou (Gohatto, 2000).
OSTEN (Suzanne)
cinéaste suédoise (Stockholm 1944).
Son expérience du théâtre lui inspire le film qui la révèle en Europe, les Frères Mozart (Bröderna Mozart, 1986), alors que son premier film Maman (Mamma, 1982) évoquait la vie de sa propre mère. Elle aborde ensuite des sujets plus politiques avec le Garde du corps (Skyddsängeln, 1990), sur le terrorisme et la répression au début du siècle, puis l'Affrontement (Tala ! Det är sa morkt, 1993), qui oppose un jeune néonazi à un médecin juif, et Seulement toi et moi (Bara du och jag, 1994), sur le poids des conventions et les préjugés racistes. Elle tourne en 1996 un film pour enfants la Vengeance de Carmen (Bengbulan).
Elle a dix-huit ans quand elle est sélectionnée pour le rôle principal de Song o'My Heart (Frank Borzage, 1930), dont la vedette était le grand chanteur irlandais John McCormack. Ce rôle, qu'elle tient avec fraîcheur, suscite un contrat à la Fox et une carrière très active dans les années 30. Maureen O'Sullivan était une ingénue, emploi difficile à tenir car toujours menacé de mièvrerie, mais une ingénue idéale car elle suggérait à merveille, derrière l'innocence, la rouerie, la détresse ou le pathétique. C'est avec les honneurs qu'elle se tire de rôles ingrats dans Annie la Batelière (M. LeRoy, 1933) ou Miss Barrett (S. Franklin, 1934), où, elle était à l'arrière-plan. Un exemple frappant de son art nous est donné par sa création à la fois délicieuse, irritante et touchante de l'épouse capricieuse de David Copperfield (G. Cukor, 1935), qui meurt de manière si bouleversante. De plus, elle pouvait avoir de l'humour et de l'entrain, comme l'atteste le charmant Jours heureux (W. S. Van Dyke, 1934). Mais, bien sûr, la grande chance de sa vie ce fut d'être la Jane du plus mythique des Tarzan, Johnny Weissmuller, dans six films. Le meilleur est peut-être le sauvage et rousseauiste Tarzan et sa compagne (J. Conway, C. Gibbons, id.), où l'ironie de son jeu et son charme acide sont le mieux en évidence dans un rôle qu'aucune actrice avant ou après n'a réussi à marquer. On continua à la distribuer dans des décors anglais et des personnages d'ingénue. Maureen O'Sullivan en eut peut-être assez et ne tourna plus rien de 1942 à 1948, où elle revint discrètement dans un bon film de son mari John Farrow, la Grande Horloge. Parmi ses films des années 50, on retiendra l'institutrice de All I Desire (D. Sirk, 1953). Enfin, Budd Boetticher la fait redécouvrir en 1957 dans The Tall T, en étrange bourgeoise peu avenante, dévorée de passions secrètes et de tourments inavoués. Elle est la mère de l'actrice Mia Farrow.
OSWALD (Gerd)
cinéaste américain d'origine allemande (Berlin 1916 - Los Angeles, Ca., 1989).
Fils du cinéaste allemand Richard Oswald, acteur enfant, il suit son père aux États-Unis en 1938. Assistant à la Monogram, producteur associé à la Fox, il devient dans les années 50 un réalisateur de TV coté, et réalise quelques films à petit budget, généralement thrillers ou westerns : A Kiss Before Dying (1956), Fury at Showdown (1957), Crime of Passion (id.), Valerie (id.), dont l'esthétique est plutôt « européenne ». Il dirige aussi À Paris tous les deux (Paris Holiday, 1958), « match » entre Bob Hope et Fernandel, moins comique que grinçant en raison de la surenchère des deux acteurs. En Europe, il tourne ensuite Die Schachnovelle (1960), film intellectuel très ambitieux, collabore au Jour le plus long de Zanuck (1962) et dirige un film d'aventures en Italie (Tempête sur Ceylan [Tempestà su Ceylon], 1963) avant de retourner à la TV américaine.
OSWALD (Richard Ornstein, dit Richard)
cinéaste et producteur allemand (Vienne, Autriche-Hongrie, 1880 - Düsseldorf 1963).
Homme de théâtre, en Autriche, il passe au cinéma et devient producteur et réalisateur à Berlin. C'est en 1914 qu'il dirige son premier film (Iwan Koschula) et en 1916 qu'il fonde sa propre société de production. C'est lui qui révèle Conrad Veidt, Wilhelm (William) Dieterle et d'autres vedettes, dont Lya de Putti. Il s'intéresse d'abord aux sujets fantastiques : le Portrait de Dorian Gray (Das Bildnis des Dorian Gray, 1917), Cauchemars et Hallucinations (Fünf unheimlichen Geschichten, 1919), tout en devenant le spécialiste du film « éducatif » (Aufklärungsfilm) en matière sexuelle, avec le fameux Es werde Licht (1917), qui est suivi notamment de deux films réalisés avec la collaboration du sexologue Magnus Hirschfeld : Die Prostitution (1919) et Anders als die Andern (id., un film sur l'homosexualité où l'on peut voir Conrad Veidt). Ces films ont du succès, mais Oswald rencontre l'hostilité de la presse conservatrice. C'est pourtant un cinéaste éclectique qui fait à la même époque des films historiques, comme Lucrèce Borgia (Lukrezia Borgia, 1922), ou des mélodrames comme la première version du Journal d'une fille perdue (Das Tagebuch einer Verlorenen), qu'il tourne en 1918, soit environ dix ans avant la version de Pabst. Très prolifique, il réalise au cours des années 20 de nouveaux films fantastiques (Cagliostro, FR., 1929 ; le Chien des Baskerville [Der Hund von Baskerville], id. ; la Mandragore [Alraune], 1930) ou historiques — dont Sous l'Inquisition (Carlos und Elisabeth, 1924) — mais, à vrai dire, il continue à jouer la carte de l'éclectisme.
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