Christine Leteux
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780813166438
- eISBN:
- 9780813166728
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813166438.003.0012
- Subject:
- Film, Television and Radio, Film
Capellani started directing almost immediately. His wife, his children, and his brother Paul soon joined him. Among the important films he directed at the time were a modern adaptation of Camille ...
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Capellani started directing almost immediately. His wife, his children, and his brother Paul soon joined him. Among the important films he directed at the time were a modern adaptation of Camille (1915) with Clara Kimball Young and his brother Paul, and La Vie de Bohème (1916) with Alice Brady. Within the World Film Corporation, there were disagreements between the president, William A. Brady, and the vice-president, Lewis J. Selznick. Selznick left the company with its main asset, the star Clara Kimball Young. Capellani followed them in the new company that was formed in July 1916Less
Capellani started directing almost immediately. His wife, his children, and his brother Paul soon joined him. Among the important films he directed at the time were a modern adaptation of Camille (1915) with Clara Kimball Young and his brother Paul, and La Vie de Bohème (1916) with Alice Brady. Within the World Film Corporation, there were disagreements between the president, William A. Brady, and the vice-president, Lewis J. Selznick. Selznick left the company with its main asset, the star Clara Kimball Young. Capellani followed them in the new company that was formed in July 1916
Christine Leteux
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780813166438
- eISBN:
- 9780813166728
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813166438.003.0011
- Subject:
- Film, Television and Radio, Film
Capellani arrived in New York in March 1915. He was hired almost immediately by the World Film Corporation, a film company based in Fort Lee, New Jersey, then the hub of filmmaking in America. ...
More
Capellani arrived in New York in March 1915. He was hired almost immediately by the World Film Corporation, a film company based in Fort Lee, New Jersey, then the hub of filmmaking in America. Several French filmmakers and technicians worked for the company, such as Maurice Tourneur and Emile Chautard. Capellani’s name was mentioned in the American trade press as the “visualizer of Les Misérables,” establishing him as one of the greatest filmmakers of the time.Less
Capellani arrived in New York in March 1915. He was hired almost immediately by the World Film Corporation, a film company based in Fort Lee, New Jersey, then the hub of filmmaking in America. Several French filmmakers and technicians worked for the company, such as Maurice Tourneur and Emile Chautard. Capellani’s name was mentioned in the American trade press as the “visualizer of Les Misérables,” establishing him as one of the greatest filmmakers of the time.
Christine Leteux
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780813166438
- eISBN:
- 9780813166728
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813166438.001.0001
- Subject:
- Film, Television and Radio, Film
In the early days of cinema, a forgotten master played a major part in the development of feature film and literary adaptation. In France, Albert Capellani directed for Pathé the first versions of ...
More
In the early days of cinema, a forgotten master played a major part in the development of feature film and literary adaptation. In France, Albert Capellani directed for Pathé the first versions of Les Misérables (1912) and Germinal (1913), which were greeted as masterpieces worldwide. Capellani moved to the United States in 1915, where he directed some of the greatest stars of the screen, including Clara Kimball Young, Alla Nazimova, and Marion Davies. He even created his own production company in Fort Lee, New Jersey, then the hub of the film industry. Considered one of the greatest filmmakers of the age, Capellani sank into oblivion after his premature death in 1931. Yet cinema made a giant leap forward thanks to the extraordinary visual sense of this artist, who considered filmmaking on a par with drama, literature, and music. In 2010, the Bologna Film Festival organized a retrospective that restored him to the place he deserves in film history. His amazing career is recounted for the first time after in-depth research in archives. This is the first-ever detailed biography of this pioneer, affectionately nicknamed “Cap” by the Americans. This book follows the adventures of a filmmaker who, together with many fellow French directors, technicians, and cameramen, brought to the American film industry the “French touch.”Less
In the early days of cinema, a forgotten master played a major part in the development of feature film and literary adaptation. In France, Albert Capellani directed for Pathé the first versions of Les Misérables (1912) and Germinal (1913), which were greeted as masterpieces worldwide. Capellani moved to the United States in 1915, where he directed some of the greatest stars of the screen, including Clara Kimball Young, Alla Nazimova, and Marion Davies. He even created his own production company in Fort Lee, New Jersey, then the hub of the film industry. Considered one of the greatest filmmakers of the age, Capellani sank into oblivion after his premature death in 1931. Yet cinema made a giant leap forward thanks to the extraordinary visual sense of this artist, who considered filmmaking on a par with drama, literature, and music. In 2010, the Bologna Film Festival organized a retrospective that restored him to the place he deserves in film history. His amazing career is recounted for the first time after in-depth research in archives. This is the first-ever detailed biography of this pioneer, affectionately nicknamed “Cap” by the Americans. This book follows the adventures of a filmmaker who, together with many fellow French directors, technicians, and cameramen, brought to the American film industry the “French touch.”
