Autres rôles : l'Ange de la violence (J. Frankenheimer, 1962) ; Promise Her Anything (A. Hiller, 1966) ; le Gentleman de Londres (Kaleidoscope, J. Smight, id.) ; Dollars (R. Brooks, 1971) ; la Bonne Fortune (M. Nichols, 1975) ; Ishtar (Elaine May, 1987) ; Bugsy (id., B. Levinson, 1991) ; Love Affair (Glenn Gordon Caron, 1994), Potins mondains (Town and Country, Peter Chelsom, 2001).
BEAUDINE (William)
cinéaste américain (New York, N. Y. 1892 - Los Angeles, Ca., 1970).
En 1909, il entre dans les studios new-yorkais de la Biograph, où il est successivement assistant de D. W. Griffith, Dell Anderson et Marshall Neilan. Sa carrière prolifique de réalisateur débute en 1915 avec la série comique Ham et Bud. Son impressionnante filmographie comporte plus de 300 titres, dont l'immense majorité est maintenant tombée dans l'oubli (la quantité l'a toujours emporté sur la qualité, l'homme d'affaires ayant toujours pris le dessus sur l'artiste). Artisan à tout faire du cinéma familial et commercial, il eut pourtant le privilège de diriger Mary Pickford dans la Petite Annie (Little Annie Rooney, 1925) et surtout dans les Moineaux (Sparrows, 1926), considéré comme son meilleur film avec Penrod and Sam (1931). W. C. Fields a également contribué à le tirer de l'oubli en jouant sous sa direction Parade et Rire (The Old-Fashioned Way, 1934). L'étonnante abondance de cette œuvre ne se limita pas à l'activité cinématographique, puisque Beaudine a dirigé près de 200 émissions pour la télévision.
BEAUMONT (Harry)
cinéaste américain (Abilene, Kans., 1888 - Santa Monica, Ca., 1966).
Débute comme metteur en scène en 1915, après avoir été acteur. Il est amené à travailler jusqu'en 1948, date de sa retraite cinématographique, pour plusieurs grands studios (Essanay, Fox, Metro, Warner, MGM). Se détachent au sein d'une fructueuse carrière The Gold Diggers (1923), Beau Brummell (1924) avec John Barrymore, Babbitt (id.), The Broadway Melody (1929) et surtout deux films joués par Joan Crawford, les Nouvelles Vierges (Our Dancing Daughters, 1928) et Dance, Fools, Dance (1931), qui sont un reflet fidèle de l'Amérique enfiévrée de la prohibition et du charleston, mais aussi — pour le second film — du krach de 1929.
BEAUREGARD (Edgar Denys Nau de Beauregard, dit Georges de)
producteur français (Marseille 1920 - Paris 1984).
Avec À bout de souffle (1960) de Jean-Luc Godard, il devient pour dix ans le producteur attitré de la Nouvelle Vague. Demy (Lola, 1961), Rozier (Adieu Philippine, 1962), Melville (Léon Morin, prêtre, id. ; le Doulos, 1963), Agnès Varda (Cléo de 5 à 7, 1962), Schoendoerffer (la 317e Section, 1964), Rivette (la Religieuse, 1966) et Rohmer (la Collectionneuse, 1967) lui doivent le vrai départ de leur carrière, mais il a aussi produit Chabrol, Grangier ou Françoise Sagan, et surtout six autres films de Godard, du Petit Soldat (1960) à Numéro deux (1975). Il a été également le producteur des films de Bardem, Mort d'un cycliste (1955) et Grand'Rue (1956).
BECCE (Giuseppe)
compositeur allemand d'origine italienne (Lonigo 1877 - Berlin 1973).
Après ses études en Italie, puis à Berlin, où il devient chef d'orchestre et compositeur de symphonies, d'opéra et d'opérettes, il est un des premiers à écrire pour le cinéma muet, tout d'abord à la demande d'Oskar Messter*. En 1913, il écrit la musique de Richard Wagner, de William Wauer et Carl Froelich, dans lequel il interprète le rôle du grand compositeur décédé vingt ans plus tôt. Intégré à la UFA en 1918, il devient une des gloires du studio et il crée des musiques pour les films les plus divers, dont les Trois Lumières de Lang, le Dernier des hommes et Tartuffe de Murnau, Der steinerne Reiter de Fritz Wendhausen, Am Rande der Welt de Karl Grune. Aux débuts du nazisme, il participe au film de propagande Hans Westmar (Franz Wenzler, 1933) et il est notamment le compositeur attitré des films de Luis Trenker – il écrit aussi pour Leni Riefenstahl (la Lumière bleue), qu'il retrouvera pour Tiefland en 1945. Habile à capter les formes populaires qu'il intègre à un cadre classique académique, il collabore à des documentaires exaltant les thèmes à la mode sous les nazis et à de très nombreux films de fiction. Il composa encore de nombreuses musiques de films de 1949 à la fin des années 50.
BECH (Lili Beck Magnussen, dite Lili)
actrice danoise (1885-1939).
Elle débute dans son pays natal (les Morphinomanes [Morfinisten, 1911] de L. von Kohl) puis rencontre Victor Sjöström, qu'elle épouse. Elle tourne alors sous la direction de son mari (le Jardinier, 1912 ; les Enfants de la rue, 1914 ; Therese, 1916) et sous celle de Mauritz Stiller (les Masques noirs, 1912 ; la Vampire, id. ; l'Enfant, 1913 ; l'Oiseau de la tempête, 1914 ; les Ailes, 1916), les premières œuvres importantes du cinéma suédois. Elle retourne au Danemark en 1916 après son divorce.
BECKER (Harold)
cinéaste américain (New York, N. Y., 1950).
Sa carrière a commencé en Angleterre et s'est développée aux États-Unis. Harold Becker se fit d'abord remarquer avec Taps (id., 1981), peinture corrrosive d'une école militaire qui put un temps le faire prendre pour un auteur ; c'est plutôt son aptitude à fixer sur la pellicule une forte création de George C. Scott qui paraît maintenant intéressante. Malice (id., 1993) était un bon thriller à rebondissements où brillaient Nicole Kidman et Alec Baldwin. C'est en collaborant avec Al Pacino que Becker a donné le meilleur de lui-même : City Hall (id., 1995), bien écrit et bien joué, et surtout Mélodie pour un meurtre (Sea of Love, 1989), autre thriller, réellement sulfureux, qui sortit l'acteur de quatre années d'inactivité forcée et ouvrait la voie à ses grandes créations de maturité.
BECKER (Jacques)
cinéaste français (Paris 1906 - id. 1960).
Né d'un père français et d'une mère écossaise, il est élevé dans la grande bourgeoisie intellectuelle parisienne : c'est chez les Cézanne qu'il est présenté à Jean Renoir, en 1924, et dans l'entourage immédiat de l'auteur de la Grande Illusion (film dans lequel il tient un petit rôle) qu'il apprend son futur métier. Figurant dans le Bled (1929), puis assistant de Boudu sauvé des eaux (1932) à la Marseillaise (1938), il est coréalisateur de La vie est à nous (1936), dont il aurait dirigé l'épisode paysan avec Gaston Modot. Simultanément, il réalise (avec Pierre Prévert) deux moyens métrages adaptés de Courteline.
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