Léonce Joseph Perret (14 March 1880 – 12 August 1935) was a prolific and innovative French film actor, director and producer.The Museum of Modern Art, "Gaumont Presents Léonce Perret" (retrieved 7 June 2007) He also worked as a stage actor and director. Often described as avant-garde for his unorthodox directing methods, Perret introduced innovative camera, lighting and film scoring techniques to French cinema.
Perret began his career as a relatively undistinguished stage actor. He was recruited to the film industry by Gaumont. His numerous short films gained significant accolade in French cinematography. Until his emigration to the United States in 1917, he was a fixture of Gaumont. On American soil, he produced several popular films, the most notable being Lest We Forget (N'oublions jamais) in 1918.
After returning to France, he directed the successful Koenigsmark in 1923. His film Madame Sans-Gêne (1925), starring Gloria Swanson, was the first joint Franco-American film production.see Léonce Perret cinématographiste, Daniel Taillé, 2006 In addition, Perret collaborated with many of the French and American idols of his generation such as Abel Gance, Gloria Swanson, Gaby Morlay, René Cresté, Arletty, Suzanne Grandais, Mae Murray, and Huguette Duflos.
Biography
Early life
Léonce Perret was born in 1880 to Eliès Ferdinand Perret and Marie Collinet. His parents owned a woodworking shop on Yver Street in Niort, France. Léonce showed a taste for the arts from an early age, in particular for acting and poetry. During his adolescence, Léonce fell seriously ill and had to go to Paris to see medical specialists. He stayed in the capital for several months while being treated. It was during this brief stay that he began to dream of life as an artist.
After many discussions with his parents in Niort, he received their blessing to pursue this dream. He returned to Paris and rented a small room on the Boulevard Saint-Michel near the Luxembourg Garden. Here, he was able to immerse himself in his favorite books. His health complications came back, but he made a slow recovery. Later, he was granted a medical exemption from military service on 21 March 1901.
Introduction to theatre Perret enrolled in the new music school, Schola Cantorum, located in the Montparnasse neighborhood of Paris. His talent as an excellent singer and flute player soon became apparent, thus began his very prolific artistic career. During this time, he loved to watch plays at the theatre in his free time and felt more and more drawn to the stage. He participated in small stage productions in order to learn the trade; he had to accept any offer that came his way to get paid, which often amounted to a pittance. At the same time he continued to take music and theatre classes.
In 1899, Perret got the call for a six-month tour which enabled him to travel throughout Europe and to Russia. He was finally noticed by the playwright Eugène Brieux, who tapped him in the spring of 1900 for his first important role in the play La Robe rouge (The Red Dress). Then destiny smiled on Perret in June 1900 when he got his first contract as a young headliner at the Athénée theatre, one of his longtime dreams. In 1902, he toured again in Europe visiting Italy, Switzerland, Germany, Russia, etc., acting in plays by Alexandre Dumas, fils, Alfred Capus, Marcel Prévost, and Émile Augier. He gained much theatrical experience during those years. Perret the actor began to get himself noticed by his performances, especially when he started acting at the Vaudeville theatre in the beginning of 1903, notably playing the leading role in the play Ruy Blas.
In 1905, Perret signed a new contract with the Odéon, working first under the director Abel Tarride, then André Antoine. He continued to tour in the theatres of Paris, the provinces of France, and sometimes Europe; however, he had severe financial difficulties during this period since he was rarely given the leading role.
In 1909, he was employed for several months in a Saint Petersburg theatre during another trip to Russia. On the way back to France he stopped in Berlin to act in the play Cyrano de Bergerac. It was there that Mr. Grassi, the director of Gaumont Germany, recruited him for a new occupation: filmmaking.
Film career Perret saw working behind a camera as an extension of his theatrical work, unlike the rest of the theatre world who looked down on the cinema. In 1909, he directed his first three short films in Berlin. They included the pacifist film Pourquoi la guerre? Next, he began directing short films of 4–5 minutes from his own screenplays, such as Le Bon Juge and Fan-Fan le petit grenadier.
From Berlin, he went back to Paris and found employment at Gaumont under the artistic direction of Louis Feuillade. He started out there as an actor in a good number of films shot in the Gaumont studios at 53, rue de la Villette. He then moved up the ladder quickly at Gaumont thanks to his directing experience from Berlin. Around this time he met Valentine Petit, a singer and dancer who was working at the Folies Bergère. She became his wife several years later. Valentine acted in several of Perret's films and helped him greatly in his business dealings.
Perret and the cast at Gaumont worked with many actors including Suzy Prim, Yvette Andréyor, Suzanne Grandais, etc. Perret acted in many of the films he directed. Le Feu à la mine (1911), was one of his first films to be relatively successful. In 1913, he started the "Léonce" series which consisted of Perret himself playing dramatic, comic and even burlesque characters; he would film around forty episodes of this series. That same year he directed the dramatic comedy Le Mariage de minuit (Midnight Marriage) featuring Suzanne Grandais, an actress he had discovered at the Moulin Rouge. Suzanne subsequently became quite popular.
Even though the public still didn't know Perret by name, his face was starting to become familiar. In fact, until 1913, the names of the director and actors were not included in the credits due to the studios' near-prohibition. One day, Perret demanded that Gaumont and Louis Feuillade include the leading actors' names in the credits, a precedent that was soon followed by all the other directors of the time.See Léonce Perret cinématographiste, Daniel Taillé, 2006
Trying new techniques, Perret progressively filmed more outdoors and, sometimes, outside of Paris. He even experimented with the police genre with the trilogy Main de fer. The same year Perret directed L'Enfant de Paris, the film that would mark the end of his financial difficulties and make his reputation as one of the best French directors of his era. L'Enfant de Paris was subsequently remade several times. Perret demonstrated with this film that French filmmaking technique rivaled that of the Americans, even the technique of the eminent American director D. W. Griffith.
Furthermore, at a showing of L'Enfant de Paris at the French Film Library in 1951, Georges Sadoul stated: "Perret made brilliant use of every editing resource at his disposal: varied camera angles, backlighting, his cameraman Specht's beautiful photography… all while working from a rather ordinary script that borrowed heavily from the Deux orphelines. Mixing Ennery's melodrama with a few jingoistic episodes, Léonce Perret was able to render a graceful and lively story by using an extraordinarily refined cinematic repertoire: backlighting, low-angle shots, close-ups, moving shots and numerous other innovations, all of which Perret implemented with flair, in stark contrast to Louis Feuillade's minimalist style and the still somewhat primitive technique of David W. Griffith at that time." Thus, Perret demonstrated that the French cinematic technique of that time transcended that of the Americans.
Like many of his peers during World War I, Perret directed several patriotic and jingoistic movies such as La voie de la Patrie. Military music was played during the film's projection, an innovative idea for that period.
Perret was second in command at Gaumont under Louis Feuillade during this very successful period of the French film industry; when French films were being shown in many foreign countries. However, in 1914, the war broke out and movie-making ground to a halt. Everyone was called up to serve in the army, including Perret, who for a time was conscripted as a nurse's aide in Niort as he was unable to fight due to his health problems. At Léon Gaumont's request he returned to filmmaking in 1915 to make several patriotic shorts like Françaises, veillez! (Frenchwomen, take care!), a short film warning women on the home front to be aware of possible traitors. Soon after, he released Debout les morts, a film based on one of Victor Hugo's novels.
Until 1916, Perret alternated between patriotic and sentimental films. Even though he was named artistic director of Gaumont in 1915 in place of Feuillade (who was fighting on the front), he began complaining about the lack of financial resources Gaumont was willing to commit to his films. Perret wanted to direct bigger budget films. His contract with Gaumont was set to expire at the end of 1916.
American film producer Perret believed that "the cinema has won the freedom to go where it chooses throughout the world and has become a universal medium that facilitates open artistic and commercial exchanges." He arrived in the United States in February 1917, just a few weeks before the U.S. joined the Allied forces in World War I. He settled in Richmond, Virginia, a region that was at the time developing a filmmaking industry in competition with Hollywood.
A favorable contract was signed with the World Film Company, an independent production company founded by Jules Brulatour and Lewis J. Selznick. This was a sizable community of expatriate French directors in America looking to participate in the rapidly growing American film industry. His first film shot in the U.S. was The Silent Master, based on a novel by Phillips Oppenheim. A Modern Othello quickly followed, based on a short story by the French writer Ernest M. Laumann.
Shortly afterwards, he directed Lest We Forget, which showed the world the image of a heroic and wounded France. The postwar propaganda was released in 1918 and was enormously successful in France. Its release shortly preceded the signing of the armistice that ended World War I. This film and other film successes during that year supplied Perret with enough money to start his own production company: Perret Pictures, Inc., which was affiliated with the distributor Pathé Exchange.
With this new company, he produced and directed a series of films including La 13ème chaise based on the play by Bayard Veiller and The Twin Pawns starring the Hollywood celebrity Mae Murray. His 1920 film, The Lifting Shadows, strongly criticized the newly ascended powers in Russia and revealed Perret's prejudices towards Bolshevism. His string of successful films continued until 1921 when an economic recession in the U.S. put the brakes on the burgeoning film industry.
International success Perret decided to give up working in the United States for good at the end of summer 1921. His passion for the renewal of French cinematography was evident in this statement: "The artistic, economic, scientific and social ambitions of the film industry are so strong that its potential is limitless. It should be one of our most important domestic industries. But to get French film back on top, a place it never should have lost, and to assure its global expansion, the domestic film industry has to have a global vision in its subject matter, artisanship and casting. Our great history and tradition can provide the inspiration for international films, a fact that is not unknown to our foreign competitors who have pulled their story lines for their latest films from French history as told by our most famous novelists and playwrights."