Lui et son équipe abordèrent, à peu près, tous les genres : scènes grivoises, drames « réalistes », vues historiques, féeries froidement calquées sur Méliès, films-poursuites (la grande spécialité d'André Heuzé) et, surtout, reconstitutions religieuses, la plus fameuse étant une Passion qui atteignit 700 m de long (environ 45 minutes de nos cadences actuelles), subdivisée en quatre époques et 39 tableaux, l'ensemble étant conçu de façon à pouvoir être fragmenté en plusieurs séances. Il faut peut-être chercher là les prémices du film à épisodes, qui fera florès dix ans plus tard. Même lorsqu'il s'en tient sagement aux canons de l'imagerie sulpicienne, Zecca reste un précurseur. Il a la prescience d'un style narratif, d'un équilibre des formes et d'un dynamisme gestuel que sauront apprécier les Américains, à commencer par Cecil B. De Mille. Sa version de l'Affaire Dreyfus (1908) n'est pas dépourvue non plus de panache : moins élégante que celle de Méliès, elle est aussi moins statique.
À partir de 1914, Zecca abandonne la réalisation et la production pour se consacrer à des tâches administratives. Il équipera des studios à Berlin puis à Jersey City, dirigera la filiale de Pathé aux États-Unis et, de retour en France à la fin des années 20, créera le très actif département « Pathé Baby ».
Principaux films :
le Muet mélomane (1900) ; Histoire d'un crime (1901) ; les Sept Châteaux du diable (id.) ; Idylle sous un tunnel (id.) ; la Conquête de l'air (id.) ; Quo Vadis ? (id.) ; l'Enfant prodigue (id.) ; les Victimes de l'alcoolisme (1902) ; Tempête dans une chambre à coucher (id.) ; Par le trou de la serrure (id.) ; la Vie d'un joueur (1903) ; la Passion (id.) ; la Grève (1904) ; Rêve à la Lune (1905) ; les Incendiaires (id.) ; Dix Femmes pour un mari (id.) ; l'Affaire Dreyfus (1908) ; série des Scènes de la vie cruelle (1912-1914).
Certains films ont été coréalisés par ses assistants, Nonguet, Leprince, etc.
ZEFFIRELLI (Franco)
cinéaste italien (Florence 1923).
Après un diplôme à l'Académie des beaux-arts, il étudie l'architecture et devient acteur au théâtre et à la radio. En 1949, il est décorateur pour un spectacle de Visconti, qui le prend ensuite comme assistant sur La terre tremble (1950), Bellissima (1951) et Senso (1954). Après avoir travaillé avec d'autres réalisateurs, dont Antonio Pietrangeli et Clemente Fracassi, il passe à la mise en scène avec Camping (1957), une joyeuse comédie interprétée par Nino Manfredi. Il s'affirme aussi intelligent metteur en scène d'opéra : la Bohème (1965), la Traviata (1983), Otello (1986). Avec la Mégère apprivoisée (The Taming of the Shrew / La bisbetica domata, 1967), interprétée par Richard Burton et Elizabeth Taylor, il crée une brillante adaptation shakespearienne qui obtient un grand succès. Roméo et Juliette (Romeo e Giulietta, 1968), décoratif et agréable, ouvre cependant le chemin vers l'académisme figé de ses films religieux, peu inspirés mais très spectaculaires (François et le chemin du soleil [Brother Sun, Sister Moon/Fratello Sole, sorella Luna], 1972 ; Jésus de Nazareth [Jesus of Nazareth/Gesù di Nazareth], 1978), et de ses mélodrames larmoyants tournés aux États-Unis : le Champion (The Champ, 1979), Un amour infini (Endless Love, 1981). En 1988, il signe un médiocre Toscanini (Il giovane Toscanini), en 1990, une nouvelle adaptation d'Hamlet suivie de Sparrow (1993) et de Mémoire d'un sourire (1995). Il réalise ensuite Jane Eyre (1996) avec Charlotte Gainsbourg et William Hurt, Un thé avec Mussolini (Te con il Duce, 1999), un film sans surprise sur un groupe d'Anglaises vivant à Florence au cours des années 30, puis Callas Forever (2001), hommage à la grande cantatrice grecque.
ŽELJAZKOVA (Binka)
cinéaste bulgare (Sofia 1923).
Première femme du cinéma bulgare à avoir accédé à la réalisation, dès 1954, après des études à l'Institut supérieur d'art dramatique de Sofia, elle remporte un large succès avec ‘ Nous étions jeunes ’ (A bjahme mladi, 1961), film sur un groupe de jeunes résistants antifascistes. Elle apparaît ensuite comme l'une des meilleures cinéastes en Europe centrale avec ‘ le Ballon captif ’ (Privarsanijat balon, 1966, distribué en 1988), Leurs dernières paroles (Poslednata duma, 1973), la Piscine (Basejňat, 1977), le Grand Bain de minuit (Goljamoto noščno kapele, 1980), ‘ la Nuit sur les toits ’ (Nošcen po pokrivite, 1987).
ZELLER (Wolfgang)
musicien allemand (Biesenrode 1893 - Berlin 1967).
Compositeur et chef d'orchestre à Berlin, il écrit la musique d'accompagnement de plusieurs films muets dont les principaux sont les Aventures du prince Ahmed de Lotte Reiniger et Berthold Bartosch (1926) et la Mélodie du monde de Walter Ruttmann (1929).
Auteur de plus de 80 musiques de scène, il a composé celle de très nombreux films dont Vampyr (C. Dreyer, 1932), l'Atlantide (G. W. Pabst, id.), les Deux Rois (H. Steinhoff, 1935), les Gens du voyage (J. Feyder, 1938), la Lutte héroïque (Steinhoff, 1939), Morituri (Eugen York, 1948), ainsi que le tristement célèbre Juif Süss (V. Harlan, 1940).
Il débute au cinéma en 1917, à Berlin, réalisant comédies, drames, adaptations de textes littéraires célèbres (Anna Karenine, Manon Lescaut). Ces œuvres, dont il est parfois le producteur, ont souvent pour vedette sa femme Lya Mara. En 1927, il produit et réalise les Tisserands (Die Weber), d'après le drame de Gerhart Hauptmann, qui lui confère soudain une réputation de cinéaste politisé, voire révolutionnaire. En 1928, il devient directeur de la société de production créée en Allemagne par la firme américaine First National. Dans les premières années du cinéma parlant, il signe plusieurs comédies et films musicaux, puis il quitte l'Allemagne en 1933.
Établi en Grande-Bretagne, il dirige un film musical dont la vedette est Will Fyffe : Happy (1934). À l'exception de deux films qu'il réalise en 1938 aux Pays-Bas (Valdertje Langbeen et Morgen gatt het beter), son œuvre est alors essentiellement britannique, qu'il signe du nom de Fred Z. (I Killed the Count, 1939). Il produit et réalise deux longs métrages avec Will Fyffe, Heaven Is Round the Corner (1944) et Give Me the Stars (1945).
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