Depuis les années 50, Mattsson se consacre à la réalisation de thrillers clinquants qui lui ont valu le sobriquet de « Hitchcock suédois », mais dans lesquels il ne témoigne guère de la subtilité de son modèle. Parmi ses dernières œuvres, seuls le Mannequin de cire (Vaxdockan, 1962), étrange évocation de E. T. A. Hoffmann, et le Meurtre d'Yngsjö (Yngsjömordet, 1966) peuvent encore retenir l'attention.
MATURE (Vittore Maturi, dit Victor)
acteur américain (Louisville, Ky., 1915 - Rancho Santa Fe, San Diego, Ca., 1999).
On a été injuste envers le physique lourd et calamistré qu'il révéla dans One Million B. C. (H. Roach, 1940) et que Josef von Sternberg poussa aux limites extrêmes dans Shanghai (1941), où il était excellent et équivoque. Plus que le partenaire mollasson de Rita Hayworth ou de Betty Grable, c'est le Doc Holliday mélancolique de la Poursuite infernale (J. Ford, 1946) ou le héros déchiré entre le crime et la loi du Carrefour de la mort (H. Hathaway, 1947) et de la Proie (R. Siodmak, 1948), ou encore le sinistre héros victorien de la Rose du crime (G. Ratoff, id.), qui resteront dans les mémoires. Il fut aussi surprenant dans une comédie comme Something for the Birds (R. Wise, 1952). Ce furent les films où il exhibait généreusement ses muscles (Samson et Dalila, C. B. De Mille, 1949) qui lui valurent une popularité ironique, et non ceux qui réclamaient un sens réel de la composition : l'éclaireur brutal de la Charge des Tuniques bleues (A. Mann, 1955) ou le pilote perdu touché par l'amour de China Doll (F. Borzage, 1958). On peut légitimement le regretter. Il continue d'apparaître de temps à autre, sans prétendre à un rôle, en se parodiant avec une certaine rage autodestructrice (Le renard s'évade à trois heures, V. De Sica, 1966 ; Head, B. Rafelson, 1968).
MATUSZEWSKI (Bolesław)
théoricien du cinéma polonais (Pińczów, Russie, 1856 - ?).
Officiellement ressortissant russe — car né dans la partie de la Pologne alors annexée par la Russie —, il est le photographe du tsar, qui lui demande de fixer sur pellicule le souvenir des journées du couronnement de Moscou ainsi que la visite de Félix Faure à Saint-Petersbourg en 1897. Il publie à Paris en 1898 une brochure, Une nouvelle source de l'histoire, et un traité fondamental, la Photographie animée, dans lesquels il appelle à fonder un Dépôt de cinématographie historique en archivant tous les documents filmés. Matuszewski est donc l'un des premiers à prôner l'idée d'une cinémathèque, souhaitant à la fois protéger le patrimoine culturel, assurer des liens entre la contemporanéité et les traditions et utiliser le document filmé comme un instrument de progrès matériel et moral. Il s'établit probablement en France en 1900 puis on perd sa trace.
MATVEEV (Evgueni) [Evgenij Semenovič Matveev]
cinéaste soviétique (Novooukrainka, près de Kherson, 1922).
Acteur de théâtre, il débute au cinéma comme acteur et se spécialise dans les adaptations de la littérature russe et soviétique : il est le protagoniste principal de Résurrection de Mikhaïl Chveitzer en 1961. En 1967, il signe son premier film comme réalisateur, ‘ le Tzigane ’ (Cygan), puis s'impose à l'attention par différentes œuvres (souvent tournées dans les studios ukrainiens) dont il est dans la plupart des cas le scénariste, le coscénariste et l'un des acteurs principaux : ‘ Un roman par lettres ’ (Počtovyj roman, 1970) ; ’l'Ennemi mortel‘ (Smertnyj vrag, 1971) ; ’l'Amour de la terre‘ (Ljubov' zemnaja, 1974) ; ‘ le Destin ’ (Sud'ba, 1977) ; ‘ Une mission très importante ’ (Osobo važnoe zadanie, 1980) ; ‘ l'Argent du Diable ’ (Bešenye den'gi, 1981) ; Au nom de la victoire (Imenem pobedy, 1985).
MAUBAN (Marcelle Michel, dite Maria)
actrice française (Marseille 1924).
Elle débute à la scène en 1944 en remplaçant Madeleine Robinson dans Une grande fille toute simple (titre qui la définit assez bien). C'est le début d'une longue carrière qui la conduira de Barillet et Grédy à Obaldia et de Sartre à Tchekhov. À l'écran, après des débuts assez ternes dans Patrie (L. Daquin, 1946), elle joue de ses charmes physiques dans le Cocu magnifique (E. G. de Meyst, 1947), pleure à chaudes larmes dans la Table aux crevés (H. Verneuil, 1952) et porte le voile (à ravir) dans Thérèse d'Avila (à la télévision). On se souviendra surtout de la jolie boiteuse de Voyage en Italie (R. Rossellini, 1954), avec laquelle flirte sans succès George Sanders. Mariée successivement à Claude Dauphin et à Jean Versini, il lui arrive aussi de peindre et d'écrire (cette dernière activité sous le pseudonyme de Claude Chauvière).
MAUCH (Thomas)
chef opérateur et cinéaste allemand (Heidenheim 1937).
Chef opérateur depuis 1961, il collabore en 1965-1967 à quelques-unes des premières œuvres qui témoignent du renouveau du cinéma allemand : Anita G. (1966) de Kluge ; l'Insatiable (ou les Repas, 1967) de Reitz ; Signes de vie (id.) de Herzog. Il collabore ensuite très régulièrement avec des cinéastes aussi différents que Kluge et Herzog, dirigeant notamment pour l'un la photographie de Travaux occasionnels d'une esclave (1973), Ferdinand le radical (1975), la Force des sentiments (Die Macht der Gefühie, 1983), et pour l'autre Aguirre, la colère de Dieu (1972), la Ballade de Bruno (1977), Fitzcarraldo (1982). Il a collaboré par ailleurs à plusieurs films allemands notamment d'Helma Sanders-Brahms (Sous les pavé, la plage, 1975 ; la Fille offerte, 1981), de Werner Schroeter (le Règne de Naples, 1978), de Christian Wagner (le Dernier Voyage de Waller [Wallers letzter Gang], 1989, et Transatlantis, 1993), Gabriel Barylli (Butterbrot, 1989), Arend Agthe (Wunderjarhe, 1991), Thomas Mitscherlich (Die Denunziantin, 1993), Jan Schütte (Auf wiedersehen Amerika, 1994) – en France à Saint-Cyr (Patricia Mazuy, 2000), en Irlande à The Tale of Sweety Barrett (Stephen Bradley, 1998). Lui-même auteur-réalisateur de plusieurs courts métrages et de films de télévision, il a réalisé en 1988 un film dont il est l'auteur complet, Maria von den Sternen.
MAUPI (Marcel)
acteur français (Toulon 1881 - Antibes 1949).
De petite taille, il se tient pendant des années dans l'ombre de Raimu et apporte son grain de sel à nombre de films secondaires. Son jeu a de la malice, et son flegme est soutenu par la verve provençale. En 1928, on le voit dans un film muet, le Sous-Marin de cristal (Jacques Vandal), mais il lui faut les dialogues de Pagnol pour s'affirmer (Marius, A. Korda, 1931 ; Fanny, M. Allégret, 1932 ; César, M. Pagnol, 1936 ; la Femme du boulanger, id., 1938, etc.). Nombreuses sont ses apparitions pittoresques, dans, notamment, le Mioche (L. Moguy, 1936) et l'École buissonnière (J.-P. Le Chanois, 1949).
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