سيرة
Georges Lacombe (b. 1902), particularly in collaboration with Clouzot or Pierre Very, produced notable works. While much of his filmography is forgettable, some films, especially "Le Pays Sans Etoiles" and "Le Dernier Des Six," are considered classics. He began with the short film "La Zone" (1928), which caused a sensation and was labeled "Avant-Garde" for its portrayal of the daily life of rag-men living on a narrow strip of land between Paris and its outskirts. His first talkie, "Boule De Gomme" (1931, medium-length), introduced an insufferable child actor and mainly served as an interesting glimpse into the workings of a French studio of that era. His first significant work was the well-crafted whodunit "Café De Paris" (1938), reportedly with Yves Mirande, though Lacombe claimed Mirande never set foot on the set. This was followed by "Derrière La Façade," a less successful detective film where many leading actors of the time seemed eager to be in the spotlight, often resorting to their usual performances.
Lacombe's prime began in 1939 with "Les Musiciens Du Ciel," a touching melodrama sure to move sensitive viewers to tears. "Elles Etaient Douze Femmes" (1940) depicted well-intentioned women sending parcels to soldiers, though their charity was marred by gossip and scheming. "Le Dernier Des Six" (1941) stands as arguably his finest thriller: the screenplay, written by Henri-Georges Clouzot and based on a novel by Steeman, featured detective Monsieur Wens (Pierre Fresnay), a character Clouzot would revisit in his classic "L'Assassin Habite Au 21." "Montmartre Sur Seine," a vehicle for Edith Piaf, suffered from a weak script. "Le Journal Tombe A Cinq Heures" was ahead of its time in portraying a young female journalist striving to succeed in a male-dominated profession. "Monsieur La Souris" was another whodunit, though a weak one, redeemed by the performance of tramp actor Raimu as an occasional detective.
His masterpiece coincided with the end of the war: "Le Pays Sans Etoiles," a fantasy film blending past and present, created an eerie atmosphere reminiscent of Jacques Tourneur and evoked a strange déjà vu. Masterfully acted by Pierre Brasseur and Gérard Philipe, with a first-class screenplay by Pierre Very, this film deserves greater recognition. "Martin Roumagnac" (1946) is remembered for its stars, Gabin and Dietrich, who would not collaborate again; although Dietrich was miscast, the film succeeded. Critics generally agree this marked the close of Lacombe's most productive period.
"Les Condamnés" was another clichéd melodrama saved by Pierre Fresnay. Both "Prélude À La Gloire" and "L'Appel Du Destin" featured child prodigy Roberto Benzi but were not musical biographies: the former was interesting, while the latter was purely a tearjerker. "La Nuit Est Mon Royaume" might have surprised Gabin's fans: he portrayed a man who goes blind and struggles to adapt to his new life, succeeding in this against-type role. His segment in "Les 7 Péchés Capitaux" (1952) featured an excellent, unexpected final twist and a strong sense of mystery, qualities already present in "Le Pays Sans Etoiles" and "Le Dernier Des Six." "Leur Dernière Nuit" recalled pre-war films, with an ending imitating "Quai Des Brumes," but ultimately disappointed despite performances by Gabin and Madeleine Robinson. "La Lumière D'En Face" (1955) revealed Brigitte Bardot's sensuality and erotic potential before Vadim, though the film was marred by a ridiculous happy ending. "Cargaison Blanche," which Lacombe disowned, pitted a female journalist against white slave traders and again touched on women's liberation ahead of its time. He retired after 1957 and enjoyed a long retirement, passing away in 1990.
