Straight From the Shoulder (1936) ; The Hurricane (1937 ; directeur de la 2e équipe du film de Ford) ; The Remarkable Andrew (1942) ; The Negro Soldier (cm, 1944) ; la Mélodie du bonheur (Blue Skies, 1946) ; Tulsa (id., 1949) ; Tokyo Joe (id., id.) ; Pilote du Diable (Chain Lightning, 1950) ; Dallas ville frontière (Dallas, id.) ; Journey into Light (1951) ; This Is My Love (1954). ▲
HELBLING (Jeanne)
actrice française (Thann 1903 - New York, N.Y. États-Unis, 1985).
D'un souple talent et d'une beauté un peu froide, elle est pendant les dix dernières années du cinéma muet la vedette des films d'Henri Fescourt (Mandrin, 1923 ; les Grands, 1924), de Luitz-Morat (le Juif errant, 1926), d'Epstein (la Glace à trois faces, 1927), de Cavalcanti (la Jalousie du barbouillé, 1929), et Jean Renoir lui confie l'un des trois rôles féminins de Tire-au-flanc (1928). À partir du parlant, ses apparitions s'espacent et tendent à devenir de la figuration intelligente, après toutefois un passage à Hollywood pour quelques versions françaises.
À partir de 1918, il éclaire divers films en Tchécoslovaquie puis, après 1928, en Allemagne, et souvent pour le Tchèque Carl Lamač. Il fuit l'Allemagne en 1933 et s'installe en Angleterre en 1940 : la Reine des cartes (T. Dickinson, 1949) ; le Corsaire rouge (R. Siodmak, 1952) ; Tueurs de dames (A. Mackendrick, 1955) ; Richard III (L. Olivier, id.) ; le Voyeur (M. Powell, 1960) ; le Cavalier noir (R. W. Baker, 1961) ; Ipcress, danger immédiat (S. J. Furie, 1965) ; Duffy, le renard de Tanger (R. Parrish, 1968) ; À la recherche de Gregory (In Search of Gregory, Peter Wood, 1971).
HELLINGER (Mark)
producteur et scénariste américain (New York, N. Y., 1903 - Los Angeles, Ca., 1947).
Reporter et éditorialiste de renom, il écrivit les sujets originaux de la Course de Broadway Bill (F. Capra, 1934) et de The Roaring Twenties (R. Walsh, 1939) avant de devenir, sous la férule d'Hal Wallis, l'un des producteurs les plus dynamiques de la Warner Bros. Exemplaire fut sa collaboration avec Raoul Walsh (Une femme dangereuse, 1940 ; la Grande Évasion, The Strawberry Blonde, l'Entraîneuse fatale, 1941). Avec les Tueurs (R. Siodmak, 1946), les Démons de la liberté (J. Dassin, 1947) et la Cité sans voiles (id., 1948) produits pour la Universal, il orienta le film noir vers un réalisme implacable, quasi documentaire. Il est le protagoniste de The Producer (1951), un roman à clefs de R. Brooks.
HELLMAN (Lillian)
scénariste et dramaturge américaine (La Nouvelle-Orléans, La., 1905 - Oak Bluffs, Mass., 1984).
Indiscutablement, malgré ses qualités de rigueur et de structure, le théâtre de Lillian Hellman, théâtre d'idées, d'époque et de société, est daté. Ses contributions cinématographiques étant le plus souvent des adaptations de ses pièces, elles ont elles-mêmes vieilli. Elle a rarement rencontré un cinéaste qui ait osé bousculer un peu ses ouvrages : ce qui explique la théâtralisation assez pesante de Ils étaient trois (W. Wyler, 1936), surtout de Rue sans issue (Wyler, 1937) et de Quand le jour viendra (H. Shumlin, 1943). Par contre, Wyler, en exaspérant le côté étouffant, a obtenu dans la Vipère (1941) et la Rumeur (1962) une ambiance lourde qui a aiguisé et étoffé la psychologie un peu manichéenne de Lillian Hellman. Mais l'auteur n'a guère apprécié les libertés qu'Arthur Penn (la Poursuite impitoyable, 1966) et Fred Zinnemann (Julia, 1977, tourné d'après ses Mémoires [Pentimento] et où Jane Fonda incarnait la scénariste elle-même) ont prises avec son travail, ce qui est dommage car ce sont probablement les deux meilleurs films auxquels elle a été mêlée.
HELLMAN (Monte)
monteur et cinéaste américain (New York, N. Y., 1932).
Ses études universitaires en Californie, qui l'orientent d'abord vers l'art dramatique, puis vers le cinéma, débouchent, en 1961, sur l'assistanat et la coréalisation, ensuite sur le montage auprès de Roger Corman, Harvey Hart, Phil Karlson et Sam Peckinpah. C'est Corman qui l'aide à tourner ses premiers films : The Beast From Haunted Cave (1959) ; Back Door to Hell — sur la reconquête des Philippines, tourné dans l'archipel — (1965) ; Flight to Fury (1966). Dans le renouveau qui se fait jour à Hollywood, Hellman signe en 1967 deux westerns à petit budget, qu'interprète Jack Nicholson, encore peu connu. Curieusement, ces deux films, serrés sur leur scénario impeccablement épuré, rejoignent une tradition : celle de William S. Hart ou, plus proche, de Boetticher, avec une touche de fatalité et d'inquiétude saisissante et vraie : The Shooting (1966, exploité parfois sous le titre la Mort tragique de Leland Drums) et l'Ouragan de la vengeance (Ride in the Whirlwind, id.). Cinéaste qui demeure marginal, Hellman marginalise alors également ses sujets : Macadam à deux voies (Two-Lane Blacktop, 1971) est une course de bagnoles trafiquées conduites par des ringards ; Cockfighter (1974), l'errance d'un fanatique de combats de coqs. Ni documents ni fiction, sans structure, ces films à l'image pauvre ne firent l'affaire de personne, sinon de deux ou trois exégètes inventifs. China 9, Liberty 37 (ou Clayton and Catharine) est une espèce de western parodique tourné en Italie en 1978, probablement grâce à la participation de Peckinpah. L'insuccès commercial de ces dernières œuvres obligera Monte Hellman à se tenir éloigné des studios pendant une dizaine d'années. On le retrouve en 1988 comme réalisateur d'Iguana, film dédié à la mémoire de son acteur favori Warren Oates. Il signe en 1989 : Silent Night, Deadly Night III :Better Watch Out. ▲
Bien qu'elle n'ait aucune expérience de la scène ni de l'écran, elle a la chance d'être choisie par Fritz Lang — qui cherchait une non-professionnelle — pour le double rôle de la pure jeune fille et du robot femelle de Metropolis (1927). Son beau visage sculptural, ses yeux d'aveugle se prêtaient assez bien à cette composition. Du jour au lendemain, cette inconnue de vingt ans est célèbre. La chance continue à lui sourire, avec des rôles presque aussi « irradiants » chez Henrik Galeen (la Mandragore, 1928), G. W. Pabst (l'Amour de Jeanne Ney, 1927 ; Crise, 1928) et, en France, Marcel L'Herbier (l'Argent, 1929 ; elle y incarne l'implacable baronne Sandorf). Le passage du muet au parlant s'accomplit pour elle sans heurt : elle est la partenaire de Mosjoukine dans Manolesco, roi des voleurs (V. Tourjanski, 1930), d'Albert Basserman dans un remake de la Mandragore, que tourne Richard Oswald (1930), de Jan Kiepura dans Die singende Stadt (C. Gallone, id.), de Jean Gabin dans les versions françaises de Gloria (H. Behrendt, 1931) et de l'Étoile de Valencia (S. de Poligny, 1933). Elle retrouve Pabst pour un autre rôle à sa mesure : la mystérieuse Antinéa dans la première version parlante de l'Atlantide (1932). Sa carrière se partage à ce moment-là entre l'Allemagne, la France et l'Angleterre (The Blue Danube, H. Wilcox, 1932). Elle tourne dans un dernier film important en 1934 : l'Or, réalisé en deux versions, allemande (Gold, K. Hartl) et française (S. de Poligny). Brigitte Helm épouse, en secondes noces, l'industriel Hugo Kunheim et, après un dernier film, signé Gustav Ucicky (Savoy Hotel 217, 1936), abandonne brusquement le cinéma. Elle n'est jamais sortie de sa retraite, même quand le Festival de Berlin lui décerna, son Ruban d'or : c'est son fils qui se présenta à sa place.
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