Died at the age of 97, from Marcel sweat, a director of sadness and sadness

Franco-American-German director Marcel sweat died on Saturday, May 24 in France, at the age of 97, his grandson Andreas Benjamin Seyifert announced Universe. We have a deeds to have essential documentary sadness and sad, but not only.

Duvivier and Lithuanian Assistant

He was born on November 1, 1927, in Frankfurt, but with the American nation, Marcel Offhal is illustrated by the son of the director Max Office and actor Hilda Wall. He would follow the family’s exile for the first time in France in 1933, then emigrated to the United States in 1941 after the defeat of the French army. In Paris in 1950, he studied the philosophy that he abandoned to become an assistant to Julien Duvivier, Anatol Lithuania, and then his father on the film Lola Montes in 1955.

After working on a German TV for some time, he signed two fictional short films, then a French sketch of the collective film (1962). The following year he director his first feature film, the skin of the banana. The comedy, led by a duet of Jean-Paul Belmondo and Jane Morow, a former couple who are trying to fraud of the two-crazy insurers. After the fire of Will (1965), he has been the first stone of the work for Munich for a hundred years or peace for which it is more famous and authoritative: a historical documentary.

Grief and sad, his main job …

The turning point took place in 1969. This year he realized what should be at the base, the film for Switzerland TV: Sad and sad. Called the Best Foreign Film in Oscar, the film is preparing the Chronicle of the Province (Clermont-Ferrand) from 1940 to 1944. The film catches its actual remarks on all Auvergne, but also includes indications of individuals who play an important role during the war (military, states, key witnesses), or participate in it. Auvergne.

Within 4 hours, the film shot in black and white consists of the news and news of that time. This, presented without any comment, was carried out under the control of the Vitchi government’s propaganda, except for them: Maurice Chevilier’s cinematic interview, spoken English, aimed at the American community, justified by the Germans, followed by the liberated pictures of the fence.

… but censorship!

In France, this film has been censored for more than 10 years on television. This gives a very negative view of the part of the French population, more directed to the penis than De Gaulle. The Communist Party of France, but also the French Communist Party, which was outraged by General de Goles, often sought to minimize cooperation to maintain the national coherence.

This is how the film will be from a small screen before coming in 1981. The film was greatly influenced by the French community that the collective consciousness took care of the funeral: occupation and cooperation.

The film has historically been the first cinematic dive of French collective memory during the German occupation during World War II.

With the ideology that practically noted, only the facts of resistance, Marcel Offs, made it possible to emphasize much more ambiguous behavior against the occupation, even sincere cooperation. In violation of a completely sustainable French fake unanimous image, the film has played a very important role in the inauguration of the occupation memory phase since the 1970s.

Oscar for the best documentary film

In 1976, he received the same approach to the memory of justice (unprecedented France), a 4:30 river documentary, which returned to Nuremberg trials in 1946 and the death penalty of Nazi dignity.

It will take three years, from 1985 to 1988, to become an unusual hotel terminal, a ruthless and rigorous documentary, a historical tribulation of the head of the guests, the head of the guests. A work that fairly values ​​an Oscar for the best documentary.

With November – Stimulant and Vege in 1991, he returned to the history of Berlin and the tragic fate before the recent union of the city after the fall of the wall. In 1994, he signed a weapon, the history of journalism during the war; Another 3:30 river documentary in the wake of the terrible conflict of former Yugoslavia and the tragedy of Bosnia.

In 2009, he dedicated a very perfect documentary to his famous father’s director, Max Marseille, then, as if to finish the loop, dedicated himself to the film, a traveler who qualified the main events of his personal career. This will be his last movie.