French director Jean-Paul Rappeneau, known for a vibrant cinematic style and remarkable perfectionism, passed away on September 1, aged 94. His diction when speaking contrasted with the fluidity of his films, which were true explosions of situations and dialogues, full of contagious comic energy. The filmmaker left a legacy of acclaimed works, such asLa Vie de château, Les Mariés de l’an II, Le Sauvage, Bon voyageand the famousCyrano de Bergerac.
The legacy of a filmmaker who revisited history
Son of the bourgeoisie of Auxerre, born in 1932, Rappeneau always demonstrated a deep admiration for American comedies of the late 1940s. He was deeply familiar with the classics of directors such as Frank Capra, George Cukor and Ernst Lubitsch, which he considered his gospel and main source of inspiration.
Rappeneau’s passion for American romantic comedies
Despite his strong American influence, Rappeneau’s greatest contribution to French cinema was his ability to adapt this foreign genre to narratives that, at first, seemed more resistant. He was a pioneer in creating a vibrant comedy about the Second World War and the German occupation, a theme that left a deep impression on him. The result wasLa Vie de château, financed by Yves Robert and Danièle Delorme, marking his directorial debut with Philippe Noiret and Catherine Deneuve in the lead roles.
Thirty-five years later, in 2003, he revisited the war period inBon voyage, this time approaching the exodus with a touch of comedy, something unprecedented in cinema. Co-written with Patrick Modiano, the film stood out as one of the rare cinematic successes of that period.
Rappeneau was one of the few French directors to treat national history with mastery. He applied his methodology to period films, such asLes Mariés de l’an II, before venturing into the romantic comedy genre, which he so revered, inLe Sauvage. Starring Catherine Deneuve and Yves Montand, this film is considered one of his most complete and personal works, revealing intimate confessions of this reserved man.
For the filmmaker, the American school represented the height of rigor, demanding mastery of rhythm, dialogue and twists. This approach fit perfectly with his personality. His constant insecurity propelled him to be one of the great perfectionists of French cinema.
Collaborations with big names and the fast pace of their films
Before dedicating himself to directing, Rappeneau honed his skills alongside friends such as Alain Cavalier, Louis Malle and Philippe de Broca. He contributed to the screenplays of major hits, includingZazie in the metro, L’Homme de Rio e Les Tribulations d’un Chinois en Chine. In these experiences, he learned the secrets of the mechanics of humor and adaptation, becoming an avid reader who, in time, would turn to great literary works such as the playCyrano de Bergeracby Edmond Rostand and the masterpieceLe Hussar sur le toitby Jean Giono.
Over the course of two decades, Rappeneau had the privilege of working with what he called the “Formula 1 stars of cinema”, actors who were perfectly suited to his “fast-paced” filmmaking style, as he described in his memoirs. Among them were the iconic Catherine Deneuve, whom he considered a 100-meter sprinter, Jean-Paul Belmondo, Isabelle Adjani and Gérard Depardieu, gathered inBon voyage, after having been directed separately.
The incessant search for perfection in “Cyrano de Bergerac”
The biggest concern of this filmmaker, who directed few films, but of exceptional quality, was that his works would stand the test of time. He sought to reinvent himself with new actors who could embody the stature of his classic and meticulous cinema. He achieved a new triumph with Anne Brochet inCyrano de Bergerac, although he admitted having had more difficulties withThe Knight on the Roof e Bon voyage.
Jean-Paul Rappeneau was the very embodiment of elegance, integrity and meticulous rigor in his work, which led him to abandon many scripts in progress. His unfinished projects were almost as numerous as his completed ones. He was also recognized for his keen eye and precise mind, leaving the promise of conversations with a truly brilliant storyteller.
Behind-the-scenes stories: the challenges of casting for “Le Sauvage”
Among so many stories, he recalled his unsuccessful attempt to cast actors forLe Sauvage. Belmondo didn’t get the role, because the actor fromLes Mariés de l’an IIhe wanted to impose on his partner, Laura Antonelli. He was snubbed by Alain Delon, who, after reading the script, asked coldly: “Can you imagine Delon climbing a tree, chased by a woman?” He didn’t imagine Delon, but he visualized Yves Montand in that tree, maintaining the tradition of cinematic comedy: the man was somewhat clumsy, slow and easily deceived, while the woman was always lively, light and witty. Rappeneau, in turn, was a man of remarkable intelligence and sagacity.
