STOCKHOLM : Herr och Fru Stockholm (Ragnar Ring, 1921) ; Konsumtionsföreningen Stockholm Med Omnejd (Ragnar Ring, 1922) ; Peter le vagabond (Luffar-Petter, Erik A. Petschler, id.) ; la Légende de Gösta Berling (M. Stiller, 1924). BERLIN : la Rue sans joie (G. W. Pabst, 1925). HOLLYWOOD : le Torrent (M. Bell, 1926) ; la Tentatrice (Stiller et F. Niblo, id.) ; Anna Karenine (E. Goulding, 1927) ; la Chair et le Diable (C. Brown, id.) ; la Belle Ténébreuse (Niblo, 1928) ; la Femme divine (V. Sjöström, id.) ; Intrigues (C. Brown, id.) ; Terre de volupté (Wild Orchids [S. Franklin], 1929) ; le Droit d'aimer (J. S. Robertson, id.) ; le Baiser (J. Feyder, id.) ; Un homme (J. Cruze, id. ; caméo), Anna Christie (C. Brown, 1930) ; Romance (id., id.) ; la Courtisane (Susan Lenox : Her Fall and Rise, R. Z. Leonard, 1931), l'Inspiratrice (Brown, id.) ; Grand Hôtel (Goulding, 1932) ; Mata-Hari (G. Fitzmaurice, id.) ; Comme tu me veux (As You Desire Me, G. Fitzmaurice, id.) ; la Reine Christine (R. Mamoulian, 1933) ; le Voile des illusions (R. Boleslawski, 1934) ; Anna Karenine (Brown, 1935) ; le Roman de Marguerite Gautier (G. Cukor, 1937) ; Marie Walewska (Brown, id.) ; Ninotchka (E. Lubitsch, 1939) ; la Femme aux deux visages (Cukor, 1941).
GARBUGLIA (Mario)
décorateur italien (Fontespina, Marche, 1927).
Il fait des études d'architecture et suit les cours du Centro Sperimentale de Rome. Le théoricien hongrois Balázs l'y fait débuter comme assistant décorateur dans le film italien de Geza Radványi, Donne senza nome. En 1952, il crée les décors réalistes et poétiques des Fiancées de Rome (Le ragazze di Piazza di Spagna, L. Emmer). Il travaille ensuite avec le grand décorateur Mario Chiari pour beaucoup de films spectaculaires et pour plusieurs mises en scène théâtrales de Visconti. Depuis Rocco et ses frères (1960), il conçoit tout seul les décors viscontiens, justement loués pour leur richesse de détails et pour leur beauté : le Travail (épisode de Boccace 70, 1962) ; le Guépard (1963) ; Sandra (1965) ; l'Étranger (1967) ; Violence et Passion (1975) ; l'Innocent (1976). Il a collaboré aussi avec Charles Vidor (l'Adieu aux armes, 1957), Mario Monicelli (la Grande Guerre, 1959 ; les Camarades, 1963), Marco Ferreri (le Mari de la femme à barbe, 1964), Mauro Bolognini (le Bel Antonio, 1960, la Dame aux camélias, 1981), Serguei Bondartchouk (Waterloo, 1970), Édouard Molinaro (la Cage aux folles, 1978), Paul Morissey (le Neveu de Beethoven, 1985), Peter Del Monte (Julia et Julia, 1987), Nikita Mikhalkov (les Yeux noirs, 1988), Andrea et Antonio Frazzi (Il cielo cade, 2000).
GARCI (José Luis)
cinéaste espagnol (Madrid 1944).
Après avoir débuté comme scénariste, il remporte d'emblée l'adhésion du public avec la comédie Asignatura pendiente (1977), bientôt suivie par Solos en la madrugada (1978) et Las verdes praderas (1979). Il sait exprimer le mélange de perplexité et de désenchantement que connaissent les Espagnols après Franco, teinté d'une certaine nostalgie ambiguë. El crack (1980), doublé de El crack II (1983), donne à Alfredo Landa un beau rôle de privé. Entre-temps, Volver a empezar (1982) revient à son premier registre sentimental et obtient l'Oscar à Hollywood. Il signe encore Sesión continua (1984), Asignatura aprobada (1987), Canción de cuna (1994), La herida luminosa (1996) et El abuelo (1998).
GARCIA (Andy)
acteur américain d'origine cubaine (La Havane 1956).
Un apprentissage patient du métier d'acteur et, depuis sa prestation remarquée dans les Incorruptibles (B. De Palma, 1987), une carrière sûre et sans à-coups. Physiquement très marqué par son origine latino-américaine, Andy Garcia s'impose par une présence à la fois discrète et solide. Une réelle sensibilité fait qu'il est souvent sollicité pour des comédies sentimentales, mais il est plus à son aise dans les nombreuses variations du film criminel. Il fut le neveu et héritier d'Al Pacino dans le Parrain III (F. Coppola, 1990) où sa ressemblance, à la fois dans le physique et dans le jeu intense, avec son glorieux aîné était frappante. Également intéressants sont ses rôles d'enquêteurs (Dead Again, K. Branagh, 1991; Jennifer 8, id., Bruce Davidson, 1992) auxquels l'intensité de son regard noir le prédispose. Deux de ses meilleures prestations (et également parmi ses plus sobres) sont Dans l'ombre de Manhattan (S. Lumet, 1997) et l'Enjeu (B. Schroeder, 1998) : deux flics pris au piège d'une intrigue qui ne les implique plus seulement professionnellement mais personnellement.
GARCIA (Nicole)
actrice française (Oran [auj. Wahran, Algérie], 1946).
Premier prix de comédie moderne au Conservatoire en 1969, elle se produit sur les planches avec Jean-Pierre Bisson, Jean-Pierre Miquel et Roger Planchon. Au cinéma, à partir de 1975, elle incarne des héroïnes au pastel, qui, sans hausser le ton, se frayent leur chemin. Douce blondeur et caractère. Principaux rôles : Que la fête commence (B. Tavernier, 1975) ; Duelle (J. Rivette, 1976) ; la Question (Laurent Heynemann, 1977) ; Un papillon sur l'épaule (J. Deray, 1978) ; le Cavaleur (Ph. de Broca, 1979) ; Mon oncle d'Amérique (A. Resnais, 1980) ; les Uns et les Autres (C. Lelouch, 1981) ; l'Honneur d'un capitaine (P. Schoendoerffer, 1982) ; Stella (Heynemann, 1983) ; les Mots pour le dire (José Pinheiro, 1983) ; Garçon ! (C. Sautet, 1983) ; Partenaires (C. D'Anna, 1984) ; Péril en la demeure (M. Deville, 1985) ; le Quatrième Pouvoir (Serge Leroy, id.) ; l'État de grâce (J. Rouffio, 1986) ; la Lumière du lac (Francesca Comencini, 1988) ; Outremer (Brigitte Roüan, 1990) ; Aux petits bonheurs (M. Deville, 1993). En 1990, elle passe avec brio à la mise en scène avec Un week-end sur deux, suivi en 1994 par le Fils préféré et en 1998 par Place Vendôme.
GARCÍA ESPINOSA (Julio)
cinéaste cubain (La Havane 1926).
Formé au Centro sperimentale de Rome, il aborde le constat social avec El Mégano (CO T. Gutiérrez Alea, 1955), interdit sous Batista. Communiste, il détient des responsabilités dans le domaine du cinéma après la victoire de Fidel Castro et contribue à la création de l'Institut cubain de l'art et de l'industrie cinématographiques (ICAIC). Après quelques documentaires, il tourne deux longs métrages de fiction, aux scénarios desquels collabore Zavattini : Cuba baila (1960) est une satire de la petite bourgeoisie sous l'ancien régime et une exaltation de la créativité populaire ; El joven rebelde (1961) retrace l'itinéraire d'un jeune paysan qui adhère instinctivement à la guérilla. Nettement plus inventif, Las aventuras de Juan Quinquin (1967) manie avec ironie les ressorts du film d'aventures, avec un « héros » tour à tour guérillero et torero, sacristain et directeur de cirque, dans la tradition picaresque. Il réalise ensuite un essai sur le Viêt-nam, film militant, et destiné aux militants (Tercer mundo, tercera guerra mundial, 1970, en collaboration avec Miguel Torres) ; il réussit à y concilier émotion et didactisme, et théorise alors un « cinéma imparfait », qui surmonterait la dichotomie entre art élitaire et art de masses. Des responsabilités politiques grandissantes (il est nommé vice-ministre à la Culture) ne l'empêchent pas de collaborer à plusieurs scénarios et de superviser certaines œuvres (la Bataille du Chili, P. Guzmán, 1975-1979). Il célèbre l'amitié soviéto-cubaine dans La sexta parte del mundo (1977) et réalise en 1980 Son... o no son. Après avoir présidé l'ICAIC (1982-1992), il cherche toujours à concilier l'expérimentation et la quête d'un cinéma populaire : La inútil muerte de mi socio Manolo (1989), El plano (1993), Reina y Rey (1994).
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