Maurice Tourneur
About
Biography
Filmography
Family & Companions
Bibliography
Notes
"The cinema is a different medium for hieroglyphically expressing human thoughts using images in place of words and with a savagery no one means of expression possesses. It is no more of an art than the printing press or the alphabet. It is the most significant instrument for bringing together nations and classes because it shows us in the most rapid and forceful way how human beings resemble each other, how the color of their skin or their language does not prevent their hearts from beating in a similar manner. More through the cinema than through the efforts of diplomats, men will realize their needs, aspirations and joys and will stop considering others as strangers." --Maurice Tourneur to Robert Florey in 1920 ("Dictionary of Film Makers" by George Sadoul)
"To speak of the future development of the art of the cinema is futile. It cannot be. It costs a great deal of money to produce a motion picture. The only way the financial backer can get his money back, to say nothing of a profit, is to appeal to the great masses. And the thing that satisfies millions cannont be good." --Maurice Tourneur ("The International Dictionary of Films and Filmmakers"--Christopher Lyon, editor)
Biography
Former student of painter Auguste Rodin who turned his attention to the theater and then moved into films as an actor and assistant director at the Eclair studios. Tourneur moved to the USA in 1914, initially as head of Eclair's Fort Lee, New Jersey, subsidiary. He soon became known as one of the most stylish directors of his time, partly thanks to his collaboration with pioneering art director Ben Carre, who designed some 35 features for Tourneur through 1920. The pair's best work was in the mystery and fantasy genres. Tourneur's most important films highlight his inimitable visual sensitivity and include the delightfully wistful "The Wishing Ring" (1914), "The Poor Little Rich Girl" (1917), one of Mary Pickford's best showcases; and a vivid rendition of "The Last of the Mohicans" (1920).
Tourneur returned to Europe in 1927 and, aside from one German film, continued his career doing fine work in France through 1948, when he lost a leg in a car accident. Probably his best-known film from this period is his strong and finely acted adaptation of Ben Jonson's "Volpone" (1940), starring Harry Baur and Louis Jouvet. He subsequently translated English-language mystery novels into French. Father of director Jacques Tourneur.
Filmography
Director (Feature Film)
Cast (Feature Film)
Writer (Feature Film)
Producer (Feature Film)
Life Events
1894
Began career as illustrator and graphic and interior designer; became assistant to Auguste Rodin and then Ruvis de Chavannes
1900
Actor, then stage director
1912
Worked as actor in several Eclair films directed by Emile Chautard
1914
Emigrated to US to run Eclair's studio in Fort Lee, NJ; began association with designer Ben Carre
1914
Directed first US film, "The Man of the Hour"
1915
Named production head, Paragon studio
1918
Formed own production company
1919
Moved to Hollywood; signed contract with Paramount; formed Associated Producers Inc. with Thomas Ince and others (failed, 1921)
1920
Moved to Universal after disagreements with Paramount
1926
Quit direction of "The Mysterious Island" after MGM put him under supervision of producer; returned to France
1929
Filmed last silent film in Germany, "Das Schiff der verlorene Menschen" (starred Marlene Dietrich)
Videos
Movie Clip
Family
Companions
Bibliography
Notes
"The cinema is a different medium for hieroglyphically expressing human thoughts using images in place of words and with a savagery no one means of expression possesses. It is no more of an art than the printing press or the alphabet. It is the most significant instrument for bringing together nations and classes because it shows us in the most rapid and forceful way how human beings resemble each other, how the color of their skin or their language does not prevent their hearts from beating in a similar manner. More through the cinema than through the efforts of diplomats, men will realize their needs, aspirations and joys and will stop considering others as strangers." --Maurice Tourneur to Robert Florey in 1920 ("Dictionary of Film Makers" by George Sadoul)
"To speak of the future development of the art of the cinema is futile. It cannot be. It costs a great deal of money to produce a motion picture. The only way the financial backer can get his money back, to say nothing of a profit, is to appeal to the great masses. And the thing that satisfies millions cannont be good." --Maurice Tourneur ("The International Dictionary of Films and Filmmakers"--Christopher Lyon, editor)
