The Tiger Makes Out (A. Hiller, 1967) ; le Lauréat (M. Nichols, id.) ; Madigan's Millions (Stanley Prayer, 1968) ; Macadam cowboy (J. Schlesinger, 1969) ; John et Mary (P. Yates, id.) ; les Extravagantes Aventures d'un visage pâle (A. Penn, 1970) ; Qui est Harry Kellerman et pourquoi dit-il des choses horribles à mon sujet ? (Who Is H. K. and Why Is He Saying Those Terrible Things About Me ?, Ulu Grosbard, 1971) ; les Chiens de paille (Sam Peckinpah, id., GB) ; Alfredo Alfredo (P. Germi, 1972 ; ITAL) ; Papillon (F. Schaffner, 1973) ; Lenny (B. Fosse, 1974) ; les Hommes du président (A. J. Pakula, 1976) ; Marathon Man (Schlesinger, id.) ; le Récidiviste (Straight Time, Grosbard, 1978) ; Agatha (M. Apted, 1979) ; Kramer contre Kramer (R. Benton, 1979) ; Tootsie (S. Pollack, 1982) ; Mort d'un commis voyageur (V. Schlöndorff, 1985) ; Ishtar (Elaine May, 1987) ; Rain Man (B. Levinson, 1989) ; Family Business (id., S. Lumet, id.) ; Dick Tracy (W. Beatty, 1990) ; Billy Bathgate (R. Benton, 1991) ; Hook (S. Spielberg, id.) ; Héros malgré lui (S. Frears, 1992) ; Alerte (W. Petersen, 1995) ; American Buffalo (Michael Corrente, 1996) ; Sleepers (B. Levinson, id.) ; Sphere (Levinson, 1997) ; Mad City (Costa-Gavras, id.) ; Des hommes d'influence (Levinson, id.) ; Jeanne d'Arc (L. Besson, 1999).
HOFFMAN (Jerzy)
cinéaste polonais (Cracovie 1932).
Diplômé de l'Institut du cinéma de Moscou (1954), il fait équipe avec Edward Skórzewski comme réalisateur de documentaires : Es-tu parmi eux ? (Czy jesteś wśród nich ?, 1954) ; Attention, houligans ! (Uwaga, chuligani !, 1955) ; Les enfants accusent (Dzieci oskarzaja, 1956), entre autres, figurent parmi les retentissants témoignages sociaux de la fameuse « Série noire ». Après une incursion dans la fiction : Gangsters et Philanthropes (Gangsterzy i filantropi, 1963), il revient, toujours avec Skórzewski, au documentaire, puis se consacre (seul désormais) à des superproductions historiques adaptées de Sienkiewicz : Messire Wolodyjowski (Pan Wołodyjowski, 1969) ; le Déluge (Potop, 1974). Il réalise ensuite la Lépreuse (Tŗedowata, 1976), Jusqu'au dernier sang (Do krwi ostatniej, 1978), le Guérisseur (Znachor, 1981), Selon tes jugements (Wedle wyroków twoich, 1983), Beautiful Lady (Piȩkna nieznajoma, 1993). En 1999 son adaptation du grand roman historico-sentimental d'Henryk Sienkiewicz Par le fer et par le feu (Ogniem i mieczem) remporte un immense succès public en Pologne.
HOFFMANN (Carl)
chef opérateur et cinéaste allemand (Neisse an der Wobert 1881 - Minden 1947).
Pionnier des techniques de prise de vues, en activité dès 1908, il participe à d'innombrables films, et collabore notamment à ceux d'Otto Rippert, dont Homonculus (1916), la Peste à Florence (1919), la Femme à l'orchidée (id.). Il est connu pour sa contribution à plusieurs films de Fritz Lang, dont le Docteur Mabuse (1922) et les Nibelungen (1924), et au Faust (1926) de Murnau. Technicien réputé, il est sollicité pour la mise au point de techniques nouvelles au cours des années 20 et 30. Entre 1929 et 1944, il dirige notamment la photographie des films suivants : Hokuspokus (G. Ucicky, 1930) ; Le congrès s'amuse (E. Charell, 1931) ; le Tunnel (K. Bernhardt, 1933) ; la Guerre des valses (L. Berger, id.) ; l'Aube (Ucicky, id.) ; Peer Gynt (Fritz Wendhausen, 1934). Entre 1935 et 1938, il est le réalisateur de cinq films, dont Viktoria (1935) et les Joyeuses Commères (Die lustigen Weiber, id.). Il est le père de Kurt Hoffmann.
HOFFMANN (Jutta)
actrice allemande (Halle 1941).
Élève de la Deutsche Hochschule für Filmkunst (1959-1962), elle joue au Maxim Gorki Theater, au Deutsches Theater, puis au Berliner Ensemble à partir de 1973. Une vingtaine de films depuis 1961, dont le Troisième d'Egon Günther (1972), l'imposent définitivement comme l'une des meilleures comédiennes de sa génération et lui valent le prix national de la RDA et la coupe Volpi à Venise. Elle paraît également en vedette dans la Clé (1974), Lotte à Weimar (1975) et Ursula (1978, TV), également de Günther, et dans Das Versteck (1977) et Geschlossene Gesellschaft (1978) de Frank Beyer. Installée en RFA depuis les années 1980, elle a surtout joué au théâtre mais aussi dans l'Attaque du présent sur le temps qui reste (A. Kluge, 1985).
Fils de Carl Hoffmann, il débute dans la mise en scène en 1939 et réalise une série de films dont la vedette est Heinz Rühmann. Il est un des cinéastes les plus prolifiques de l'Allemagne d'après-guerre, avec 39 titres réalisés de 1948 à 1971. Cette œuvre abondante comprend de nombreux remakes et une série de films à succès dont l'interprète principale est Liselotte Pulver. Ses films les plus ambitieux sont Ich denke oft an Piroschka/Piroschka (1955), Die Bekenntnisse des Hochstaplers Felix Krull (1957) et Wir, Wunderkinder (1958).
Il est sur scène et à l'écran un des meilleurs interprètes de son pays depuis 1940, s'imposant notamment dans des rôles d'intellectuels contemporains : Krakatit (O. Vávra, 1948) ; Retour à la maison (Návrat domů, M. Frič, 1949) ; Mikoláš Aleš (V. Krška, 1951) ; Hic sunt leones (Zde jsou lvi, id., 1958) ; le Citoyen Brych (Občan Brych, Vávra, id.) ; la Reinette d'or (Zlatá reneta, id., 1965) ; Moi, la justice (Z. Brynych, 1967) ; l'Honneur et la Gloire ( ~Cest a sláva, Hynek Bočan, 1968).
HOLDEN (William Franklin Beedle, dit William)
acteur américain (O'Fallon, Ill., 1918 - Santa Monica, Ca., 1981).
William Holden fait ses débuts de comédien au Pasadena Junior College, à vingt ans. Il part pour Hollywood sur la lancée d'une brève carrière théâtrale et, après deux apparitions mineures à l'écran, donne la réplique à Barbara Stanwyck dans l'Esclave aux mains d'or (R. Mamoulian, 1939). Ce film, pesamment théâtral, s'avère un échec, entraînant pour l'acteur de sérieuses répercussions : pendant près de dix ans, Holden est systématiquement écarté des rôles dramatiques — pour lesquels il semble n'avoir pas la « carrure » nécessaire —, et distribué dans des emplois légers n'exigeant qu'un physique avenant et un charme superficiel.
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