Tragédie foraine (The Spieler, 1928) ; The Flying Fool (1929) ; Oh ! Yeah ! (id.) ; Officer O'Brien (1930) ; Chicago (Bad Company, 1931) ; Prestige (1932) ; Okay America (id.) ; Destination Unknown (1933) ; S. O. S. Iceberg (id. ; CO A. Fanck) ; la Malle de Singapour (China Seas, 1935) ; Professional Soldier (1936) ; le Dernier Négrier (Slave Ship, 1937) ; M. Dodd part pour Hollywood (Stand-In, id.) ; Divorcé malgré lui (Eternally Yours, 1939) ; le Poignard mystérieux (Slightly Honorable, 1940) ; Cheers For Miss Bishop (1941) ; My Favorite Spy (1942) ; Bataan (id., 1943) ; The Cross of Lorraine (id.) ; Madame Parkington (Mrs. Parkington, 1944) ; la Vallée du jugement (The Valley of Decision, 1945) ; Un Yankee à la cour du roi Arthur (A Connecticut Yankee in King Arthur's Court, 1949) ; Jour de terreur (Cause For Alarm, 1951) ; Trois Troupiers (Soldiers Three, id.) ; Une minute avant l'heure H (One Minute to Zero, 1952) ; Main Street to Broadway (1953) ; les Sept Merveilles du monde (Seven Wonders of the World, en CORÉ, 1956) ; les Combattants de la nuit (The Night Fighters, 1960) ; The Delta Factor (1970) ; The Mad Trapper (1972) ; Timber Tramp (1973). ▲
GARNIER (Robert-Jules)
décorateur français (Sèvres 1883 - Condeau 1958).
Il est le décorateur en chef des studios Gaumont de 1906 à 1938, travaille notamment avec Jean Durand pour ses séries comiques, avec Louis Feuillade (Fantômas, 1913 ; les Vampires, 1915 ; Judex, 1917 ; Vindicta, 1923), Marcel L'Herbier (l'Homme du large, 1920 ; Eldorado, 1921), Louis Delluc (Fièvre, 1921, dont le décor n'est pas sans évoquer le style Kammerspiel), Jean Renoir (Nana, 1926), André Berthomieu, André Hugon, Jean Choux. Il fera également par deux fois équipe avec Jacques Becker (Antoine et Antoinette, 1947 ; Rendez-Vous de juillet, 1949).
GARREL (Maurice)
acteur français (Saint-Gervais 1923).
Ancien élève de Charles Dullin, il est avant tout acteur de théâtre et de télévision. Au cinéma, son physique typé et son regard inquiétant l'amènent à jouer des personnages louches et ambigus. Il tourne, entre autres, avec Alain Cavalier, Édouard Molinaro, Pierre Kast, José Giovanni, Jacques Rivette et Claude Lelouch. Parmi ses apparitions particulièrement marquantes, on peut citer la Maison des Bories (J. Doniol-Valcroze, 1970), Nada (C. Chabrol, 1974), la Discrète (C. Vincent, 1990), Artemisia (Agnès Merlet, 1997), l'Origine du monde (Jerôme Enrico, 2000). Il joue dans certains des courts et longs métrages réalisés par son fils Philippe, dont Marie pour mémoire (1967) et le Cœur fantôme (1996).
GARREL (Philippe)
cinéaste français (Paris 1948).
Fils du comédien Maurice Garrel, il fait son premier film à seize ans. Les Enfants désaccordés (1964) ou Anémone (1968 RÉ 1967) donnent une vision directe et assez godardienne de la génération de ceux qui auront vingt ans en 1968. Mais ses films suivants gomment toute référence sociale concrète. Il y met en scène de façon épurée des « substituts de lui-même » affrontés à la « guerre des sexes » et à la folie, à cette désespérance d'avoir quitté le « Bleu des origines » (1979) ou le « Berceau de cristal » (1976), bref ! l'absolu de l'enfance. Muets ou très parlants, en décors clos (la Concentration, 1975) ou dans les vastes extérieurs de la Cicatrice intérieure (1971), en noir et blanc ou dans les couleurs du très esthète Athanor (1972), les films de Garrel sont faits de longs plans très composés. Il reçoit en 1982 le prix Jean-Vigo pour l'Enfant secret, un film dont le tournage avait été entrepris en 1979. Au cours des années 80 et 90, il poursuit un itinéraire exigeant, secret, qui lui confère une place originale dans le cinéma français de son temps. En 1991, J'entends plus la guitare, qui signe son retour à un cinéma narratif, reçoit le Lion d'argent à Venise.
Autres films :
Marie pour mémoire (1967) ; le Lit de la vierge (1969) ; les Hautes Solitudes (1973) ; Un ange passe (1975) ; Voyage au jardin des morts (1978) ; Elle a passé tant d'heures sous les sunlights (1985) ; les Baisers de secours (1989) ; la Naissance de l'amour (1993) ; le Cœur fantôme (1996) ; le Vent de la nuit (1999) ; Sauvage innocence (2001).
GARRETT (Betty)
actrice américaine (Saint Joseph, Mo., 1919).
Excellente danseuse, c'est surtout une chanteuse expressive et une comédienne pleine de vivacité. Après de beaux succès à Broadway, elle apparaît dans Big City et Ma vie est une chanson, deux films de Norman Taurog, en 1948, mais c'est dans Match d'amour (B. Berkeley, 1949) et Un jour à New York (S. Donen et G. Kelly, id.) qu'elle dessine un personnage d'une spontanéité toute neuve, d'une franchise et d'un humour peu communs chez les protagonistes féminins de la comédie musicale. Son mari Larry Parks se trouvant poursuivi par l'inquisition anticommuniste du HUAC, elle doit interrompre sa carrière cinématographique. Mais on retrouvera sa figure intelligente et vigoureuse dans Ma sœur est du tonnerre (R. Quine, 1955).
Cette actrice de théâtre, à la flamboyante chevelure et aux manières distinguées de « housewife » de rêve, est une figure cinématographique emblématique dans la mythologie américaine de la Seconde Guerre mondiale, contrepartie des explosives Betty Grable ou Rita Hayworth, archétype hollywoodien de la mère. Louis B. Mayer ne pouvait manquer d'être saisi par sa beauté à la fois piquante et rassurante. Après lui avoir fait tourner Goodbye Mr. Chips (S. Wood, 1939), il la fait venir à Hollywood et lui ouvre les portes d'une carrière dorée. Le plus souvent distribuée sans imagination en figure maternelle (Madame Miniver, W. Wyler, 1942) ou salvatrice (Madame Curie, M. LeRoy, 1943), Greer Garson est pourtant une excellente comédienne. C'est à son talent que les Oubliés (LeRoy, 1941), le Prisonnier du passé (Random Harvest, id., 1942) ou la Vallée du jugement (T. Garnett, 1945) doivent de ne pas sombrer dans la fadeur. Un rien d'humour au fond du regard, un sens précis des gestes, des cheveux de flamme, pas toujours en place, suggèrent une Greer Garson plus malicieuse qu'on ne voulait la montrer. Mais, dès la fin de la guerre, de mauvais films aidant, sa personnalité n'est plus au diapason de l'Histoire. Tous les efforts pour la diriger vers la comédie (la Belle imprudente [Julia Misbehaves] J. Conway, 1948) ou pour faire revivre ses succès (l'Histoire des Miniver [The Miniver Story, H. C. Potter] 1950) restent sans lendemain. Elle se retire au milieu des années 50, ne revenant au théâtre ou au cinéma qu'occasionnellement. En 1960, Sunrise at Campobello, de Vincent J. Donehue, met en valeur ses dons de composition en la transformant en Eleanor Roosevelt. Mais son rôle le plus charmant restera celui d'Orgueil et Préjugés (R. Z. Leonard, 1940), le film qui exploita au mieux son caractère britannique et où elle se montra d'une aisance souveraine.
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