D'abord assistant au début des années 30, il travaille exclusivement pour la Republic de 1937 à 1944, tournant près de dix films par an, la plupart du temps des westerns modestes joués par Gene Autry, John Wayne ou Don Barry. On lui doit ainsi Overland Stage Raiders (1938), qui marque la dernière apparition à l'écran de Louise Brooks. En 1944, le succès de The Lady and the Monster, thriller auquel Eric von Stroheim ajoutait sa présence inquiétante, lui permet d'accéder à des productions plus élevées. De la Columbia à l'Universal, de la 20th Century Fox aux Artistes associés, George Sherman assure par la suite la réalisation d'une multitude de produits de série B, avec toujours une nette prédilection pour le western, plus particulièrement les sujets relatant la biographie de héros historiques : Jim Bridger (Tomahawk [id.], 1951), Crazy Horse (le Grand Chef [Chief Crazy Horse], 1955), Murieta (Murieta [Murieta / Joaquin Murrieta], ESP, 1965). Sur la piste des Comanches (Comanche Territory, 1950), Au mépris des lois (The Battle at Apache Pass, 1952) et la Vengeance de l'Indien (Reprisal !, 1956) lui permettront, au passage, de dénoncer le racisme à l'égard des Indiens, la pratique du lynchage et les exactions commises par l'armée. Parmi ses autres réussites, on peut citer : la Bataille des sables (Sword in the Desert, 1949) premier film réalisé sur la naissance de l'État d'Israël, À l'abordage (Against All Flags, 1952) avec Errol Flynn, Duel dans la Sierra (The Last of the Fast Guns, 1958), qui opposait Jock Mahoney à Gilbert Roland, et Big Jake (id., 1971) avec John Wayne. Réalisateur très prolifique, il a aussi dirigé plus de 250 épisodes pour des séries télévisées.
SHERMAN (Lowell)
acteur et cinéaste américain (San Francisco, Ca., 1885 - Los Angeles, Ca., 1934).
Un enfant de la balle qui, après une carrière prometteuse à Broadway, paraît à l'écran dans le rôle du séducteur de Lillian Gish dans À travers l'orage (D. W. Griffith, 1920). L'acteur Lowell Sherman se spécialise avec brio dans les rôles de roués ou de viveurs à l'immoralité sophistiquée. Son Louis XV dans Monsieur Beaucaire (S. Olcott, 1924) ou le cinéaste alcoolique de What Price Hollywood ? (G. Cukor, 1932) restent d'excellentes créations. Cinéaste plein de mordant, d'humour, et remarquable directeur d'acteurs, il permet à Katharine Hepburn d'obtenir son premier Oscar pour Morning Glory (1933) et catapulte Mae West au firmanent des stars la même année (Lady Lou [She Done Him Wrong], dont l'élégance de la mise en scène contraste justement avec la vulgarité calculée de l'actrice). Son meilleur film est une comédie acide et amorale, The Greeks Had a Word for Them (1932), qui bénéficiait des toilettes de Chanel et d'une audace de ton qu'Hollywood allait vite perdre.
SHERMAN (Vincent)
cinéaste américain (Vienna, Ga., 1906).
Ancien acteur de théâtre et de cinéma, il devient scénariste à la fin des années 30 et collabore notamment à l'École du crime (L. Seiler, 1938) et à Hommes sans loi (id., 1939), écrits tous deux pour Humphrey Bogart. Réalisateur en 1939 à la Warner Bros, il y acquiert la réputation d'un excellent technicien, sachant mettre en valeur les stars du studio, de préférence dans des mélodrames : Bette Davis (l'Impossible Amour [Old Acquaintance], 1943 ; Femme aimée est toujours jolie [Mr. Skeffington], 1944), Ida Lupino (The Hard Way, 1942), Ann Sheridan (l'Infidèle [The Unfaithful], 1947 ; l'Amant sans visage [Nora Prentiss], id., probablement ses meilleurs films), Rita Hayworth (l'Affaire de Trinidad [Affair in Trinidad], 1952) ou Ava Gardner (l'Étoile du destin [Lone Star], 1952). Le déclin du star-system fut aussi le sien. Il continue cependant à tourner des films jusqu'en 1968, achève Racket dans la couture (The Garment Jungle, 1957), abandonné par Aldrich, et s'est depuis reconverti sans difficulté à la télévision.
SHERWOOD (Robert E.)
scénariste américain (New Rochelle, N. Y., 1896 - New York, N. Y., 1955).
Journaliste et critique de grand renom, sorti de l'université de Harvard, il écrit des pièces qu'Hollywood adapte dès 1926, comme Waterloo Bridge (J. Whale, 1931, et M. LeRoy, 1940) ou la Forêt pétrifiée (A. Mayo, 1936). Lui-même travaille pour le cinéma, adaptant le roman de la baronne Orczy le Mouron rouge (tourné en 1935 par le Britannique Harold Young), où ses dialogues un peu précieux sont mis en valeur par la diction très britannique de Leslie Howard. Plus que de l'adaptation de ses propres pièces comme Idiot's Delight (C. Brown, 1939) ou Abe Lincoln in Illinois (J. Cromwell, 1940), sa notoriété provient de son travail minutieux, par exemple sur Rebecca (A. Hitchcock, 1940), et surtout du scénario très dense et émouvant des Plus Belles Années de notre vie (W. Wyler, 1946), pour lequel il obtient un Oscar.
SHIBATA (Hayao)
distributeur et exportateur japonais (Osaka 1940).
Après avoir passé son enfance à Pékin, il rentre au Japon et, après ses études, travaille à Unifrance Film à Tokyo de 1964 à 1966. Il devient ensuite indépendant et fonde une compagnie de distribution : Furansu Eiga Sha (Société du cinéma français) en 1967, doublée d'une société consacrée à l'exportation de films japonais indépendants, Shibata Organization Inc. C'est à lui, et à Kazuko Kawakita (fille de Nagamasa Kawakita, président de la Toho-Towa), que l'on doit l'introduction en Europe, et notamment en France, des films indépendants de Nagisa Oshima (la Pendaison, 1968 ; Petit Garçon, 1969 ; la Cérémonie, 1971 ; Une petite sœur pour l'été, 1972), et d'autres cinéastes de la génération des années 60 comme Yoshida, Shinoda, Hani, Teshigahara, Imamura. Il coordonne également au Japon la production française de l'Empire des sens (1975) et de l'Empire de la passion (1978), et s'occupe de l'exportation de certains films japonais à travers les festivals (Rivière de boue, Hideo Oguri, 1981 ; le Festival du feu, Mitsuo Yanagimachi, 1985 ; Dormir comme on rêve [Yume miruyoni nemuritai], Kaizo Hayashi, 1986 et Circus Boys, id., 1989).
SHIBUYA (Minoru)
cinéaste japonais (Tokyo 1907 - id. 1980).
D'abord assistant réalisateur à la Shochiku, notamment pour Gosho, au début des années 30, il tourne ses premiers films en 1937 : ‘ Madame n'en saura rien ’ (Okusama ni shirasu bekarazu) et ‘ la Demande en mariage de maman ’ (Mama no endan). La plupart de ses premières œuvres sont des « haha mono » (films de mère), mais, pendant et après la guerre, il s'oriente vers la comédie satirique, qui fera sa réputation au cours des années 50. Dans ‘ l'École de la liberté ’ (Jiyu gakko, 1951), ‘ Aujourd'hui, pas de consultations ’ (Honjitsu kyushin, 1952), ‘ les Contemporains ’ (Gendaijin, id.), ‘ Pêle-mêle ’ (Yassa-Mossa, 1953) ou ‘ les Médailles ’/‘ les Décorations ’ (Kunsho, 1954), Shibuya s'attaque aux différents travers du Japon d'après-guerre, avec sa corruption et ses relents de militarisme, mais presque toujours sous un angle satirique. Il tourne également, dans le cadre de la Shochiku, des œuvres littéraires comme ‘ le Christ en bronze ’ (Seido no kirisuto, 1955), qui décrit les persécutions des catholiques japonais à l'époque Tokugawa, et qui fut montré en France. C'est pourtant dans la veine des comédies qu'il continue de s'illustrer dans les années 60 : ‘ Une Marylin de Tokyo ’ (Monro no yo na onna, 1964), ‘ M. Radis et M. Carotte ’ (Daikon to ninjin, id.), ultime projet d'Ozu qu'il met en scène sur un scénario de Kogo Noda, sont ses derniers films personnels, avant qu'il ne se retire des studios en 1966. Minoru Shibuya, qui jouissait d'une certaine réputation au Japon, avait obtenu le premier prix de mise en scène du journal Mainichi, en 1952, pour ‘ les Contemporains ’.
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