les Séquestrés d'Altona (I sequestrati di Altona, 1962), Mariage à l'italienne (Matrimonio all'italiana, 1964), Le renard s'évade à trois heures (Caccia alla volpe / After the Fox, 1966), Un monde nouveau (Un mondo nuovo, id.), les Sorcières (Le streghe, un épisode, 1967), Sept Fois femme (Sette volte donna, id.), le Temps des amants (Amanti, 1968), Le coppie (1970, un épisode).
DESLAW (Evgenij Stavčenko, dit Eugène)
cinéaste russe d'origine ukrainienne (Kiev 1900).
Après des études à Prague (où il réalise Vieux Châteaux en 1927) et à Paris, il participe à l'avant-garde française. Assistant de Gance pour Napoléon (1927), il réalise lui-même des œuvres de « cinéma pur » : la Marche des machines (1928), dont le fondateur du bruitisme, Russolo, fait la musique, les Nuits électriques (id.) et Montparnasse (1930), plus documentaire, où figurent Russolo et Prampolini (et où étaient accessoiristes ou apprentis Buñuel, Carné et Zinnemann...). Parallèlement à Vers les robots (1932, inachevé) ou à Négatifs (1932), il se mêle de cinéma commercial : assistant de Jacques Daroy ou de Pierre Carron, il tourne lui-même À nous la jeunesse (1938), avec René Lefevre et Sylvia Bataille. Réfugié au Mexique pendant la guerre, il s'installe ensuite en Espagne et en Suisse, où il réalise deux nouveaux films expérimentaux, Images en négatif (1956) et Visions fantastiques (1957).
DESLYS (Gabrielle Claire, dite Gaby)
actrice et chanteuse française (Marseille 1881 - Montrouge 1920).
L'une des cocottes les plus en vue de la Belle Époque. Ses costumes de scène délirants, véritables montagnes de plumes et de fanfreluches, lui avaient valu de Cocteau le surnom de « catastrophe apprivoisée ». Elle fit perdre la tête au roi du Portugal, Manuel II, fut engagée comme étoile chez Ziegfeld et lança en France la vogue du jazz-band. Les quelques films qu'elle tourna entre 1915 et 1920 (la plupart avec Harry Pilcer, un danseur pommadé ramené des États-Unis) sont tombés dans l'oubli. On ne retiendra guère que Bouclette (1918) de René Hervil et Louis Mercanton, sur un habile scénario de Marcel L'Herbier.
DESMARETS (Jacqueline Desmarets, dite Sophie)
actrice française (Paris 1922).
Vive, impertinente, avec un sens très sûr du mouvement des scènes et une manière alerte de lancer ses répliques, elle aurait pu en remontrer aux comédiennes d'Hollywood. Elle n'a pu se mesurer qu'aux artifices du Boulevard, transposés à l'écran. Sa filmographie n'est donc pas un palmarès, mais l'actrice, elle, tire avec aisance son épingle du jeu notamment dans Premier Rendez-Vous, H. Decoin, 1941 ; le Capitan, Robert Vernay, 1946 ; 120, rue de la Gare, Jacques Daniel-Norman, id. ; la Veuve et l'Innocent, André Cerf, 1949 ; le Roi, Marc-Gilbert Sauvajon, 1950 ; Demain nous divorçons, Louis Cuny, 1951 ; la Famille Fenouillard, Y. Robert, 1960, et dans un registre plus grave Un second souffle (G. Blain, 1978). Elle est l'épouse du critique Jean de Baroncelli.
DESNOS (Robert)
poète français (Paris 1900 - mort en déportation à Terezín, Tchécoslovaquie, en 1945).
Avec Soupault, il est l'un des surréalistes les plus liés au cinéma. Dès 1923, il donne, à Paris-Journal ou au Soir, des chroniques dans lesquelles il défend Mack Sennett et Chaplin aussi bien que Clair, Delluc, ou l'érotisme. Man Ray réalise en 1928 un de ses plus beaux films d'après son poème l'Étoile de mer. Il fait le commentaire de Records 37 (1937) et de Sources noires (1938), de Jacques Brunius, puis, avec Henri Jeanson, le scénario et les dialogues de Bonsoir mesdames, bonsoir messieurs (1944), de Roland Tual. Il est également l'auteur de scénarios surréalistes, dont Minuit à 14 heures (1925), qui attendent toujours leur réalisateur. La plupart de ses articles ont été réunis sous le titre Cinéma (1966).
DESNY (Ivan Desnitski, dit Ivan)
acteur d'origine russe (Pékin, Chine, 1922).
Acteur polyglotte ayant étudié le théâtre en France, il débute à l'écran en 1947, tourne en Grande-Bretagne et en France (Lola Montès, Max Ophuls, 1955 ; Une vie, A. Astruc, 1958), puis en Allemagne, participant également au doublage de nombreux films. Il passe des rôles de jeune premier à des personnages antipathiques, puis exerce son métier principalement à la télévision allemande à partir des années 60. Le renouveau du cinéma allemand lui permet d'obtenir des rôles intéressants sous la direction de Fassbinder (notamment le Droit du plus fort, 1975, et le Mariage de Maria Braun, 1979), de Jeanine Meerapfel (Malou, 1981), d'Helma Sanders-Brahms (l'Avenir d'Émilie, 1984) et de Uwe Brandner. Il travaille ensuite à la télévision avec de rares échappées en faveur du cinéma (Quicker than the Eye, Nicolas Gessner, 1989 ; Au revoir, Mr. Wallenberg, K. Grede, 1990 ; la Désenchantée, B. Jacquot, 1991 ; J'embrasse pas, A. Téchiné, id.).
DESPLECHIN (Arnaud)
cinéaste français (Roubaix 1960).
Après des études cinématographiques qui se prolongent de l'IDHEC à la FEMIS et quelques films courts aperçus dans les festivals, il réalise un moyen métrage qui sera diffusé en salles : la Vie des morts (1991). Très apprécié à cause de la direction d'acteurs et de son ambiance oppressive sur fond de drame familial, ce film lui permet de mettre en scène un scénario qu'il avait écrit antérieurement, la Sentinelle (1992), où des notations originales perturbent à bon escient un récit d'espionnage faussement classique avec connotations cinéphiles. Comment je me suis disputé...(ma vie sexuelle) [1996] est d'une qualité particulière dans le travail sur la durée et sur celui des acteurs – malgré quelques facilités dans la psychologie dues à la description d'un petit milieu intellectuel parisien. Il change de référent avec Esther Kahn (2000), tourné en anglais – un film étrange sur la vocation théâtrale d'une jeune Britannique au XVIIIe siècle.
DESPRÉS (Joséphine Charlotte Bonvalet, dite Suzanne)
actrice française (Verdun 1873 - Paris 1951).
D'une grande simplicité d'allure et d'attitude, avec un visage pur et lisse, ainsi apparaît sur scène la compagne de Lugné-Poe, l'interprète d'Ibsen et de Jules Renard. L'art muet utilise ses émotions contenues : le Carnaval des vérités (M. L'Herbier, 1920) ; Pierre et Jean (E. B. Donatien, 1924) ; le Tournoi (J. Renoir, 1929). Le parlant se sert maladroitement d'elle. Toutefois Maria Chapdelaine (J. Duvivier, 1934), l'Équipage (A. Litvak, 1935) et Louise (A. Gance, 1939) démontrent l'efficacité d'une actrice de grand talent.
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