{"id":10296,"date":"2023-02-24T19:49:41","date_gmt":"2023-02-24T18:49:41","guid":{"rendered":"https:\/\/profesordefrancesenmadrid.com\/?p=10296"},"modified":"2023-02-22T20:14:37","modified_gmt":"2023-02-22T19:14:37","slug":"le-film-du-dimanche-soir-une-balle-dans-le-canon-de-michel-deville","status":"publish","type":"post","link":"https:\/\/profesordefrancesenmadrid.com\/index.php\/2023\/02\/24\/le-film-du-dimanche-soir-une-balle-dans-le-canon-de-michel-deville\/","title":{"rendered":"Le film du dimanche soir : \u201cUne balle dans le canon\u201d de Michel Deville"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-2.png?resize=228%2C444&#038;ssl=1\" alt=\"Michel Deville\" class=\"wp-image-10297\" width=\"228\" height=\"444\" srcset=\"https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-2.png?w=514&amp;ssl=1 514w, https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-2.png?resize=154%2C300&amp;ssl=1 154w\" sizes=\"auto, (max-width: 228px) 100vw, 228px\" \/><\/figure>\n<\/div>\n\n<p>\u00a0<\/p>\n<p>Dos j\u00f3venes \u00abparas\u00bb de regreso de <strong>Indochina<\/strong>, <strong>Tony<\/strong> y <strong>Dick<\/strong>, invierten en una caja de <strong>Pigalle<\/strong> el \u00ab<strong>Tip Tap<\/strong>\u00bb, los 25 millones que les ha confiado \u00ab<strong>Le Maltais<\/strong>\u00bb. Pero este \u00faltimo aparece y reclama su dinero. Obligados a vender, los dos j\u00f3venes ser\u00e1n interpretados por \u00ab<strong>P\u00e9p\u00e8re<\/strong>\u00bb, el antiguo propietario de la caja, que perecer\u00e1 tr\u00e1gicamente con <strong>Dick<\/strong> mientras que <strong>Tony<\/strong> ser\u00e1 detenido por un asesinato que no cometi\u00f3.<\/p>\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"790\" height=\"445\" src=\"https:\/\/www.youtube.com\/embed\/5L9txcviVOM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=es-ES&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3.jpg?resize=576%2C423&#038;ssl=1\" alt=\"Michel Deville\" class=\"wp-image-10298\" width=\"576\" height=\"423\" srcset=\"https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3-scaled.jpg?resize=1024%2C751&amp;ssl=1 1024w, https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3-scaled.jpg?resize=300%2C220&amp;ssl=1 300w, https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3-scaled.jpg?resize=768%2C563&amp;ssl=1 768w, https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3-scaled.jpg?resize=1536%2C1126&amp;ssl=1 1536w, https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3-scaled.jpg?resize=2048%2C1501&amp;ssl=1 2048w, https:\/\/i0.wp.com\/profesordefrancesenmadrid.com\/wp-content\/uploads\/2023\/02\/Michel-Deville-3-scaled.jpg?w=2370&amp;ssl=1 2370w\" sizes=\"auto, (max-width: 576px) 100vw, 576px\" \/><figcaption class=\"wp-element-caption\"><strong>Michel Deville (1931-2023)<\/strong><\/figcaption><\/figure>\n<\/div>\n\n<p>Entr\u00f3 en el mundo del cine por la ayudant\u00eda. Fue ayudante de <strong>Henri Decoin<\/strong> durante casi una d\u00e9cada. Primero en pr\u00e1cticas en la direcci\u00f3n, subi\u00f3 todos los escalones hasta convertirse en 1er asistente.<\/p>\n<p>En 1961 cre\u00f3 su propia productora, <strong>\u00c9l\u00e9film<\/strong>, para financiar su primera pel\u00edcula, <strong>Ce soir ou jamais<\/strong> (esta sociedad. Sus dos o tres pel\u00edculas siguientes: &#8220;<strong>Adorable Menteuse&#8221;<\/strong>, &#8220;<strong>\u00c0\u00a0cause, \u00e0 cause d&#8217;une femme&#8221;<\/strong> et incluso &#8220;<strong>Lucky Jo<\/strong>&#8221; deciden sobre la producci\u00f3n cinematogr\u00e1fica de la \u00e9poca por su extrema belleza, su marivaudage po\u00e9tico-humor\u00edstico que roza el manierismo; sin embargo son bien acogidos, tanto por los cr\u00edticos profesionales como por el p\u00fablico en general.<\/p>\n<p>Colabora en primer lugar con <strong>Nina Companeez<\/strong> que firma el gui\u00f3n de todas sus pel\u00edculas, desde &#8220;<strong>Ce soir ou jamais<\/strong>&#8221; (<strong>1961<\/strong>) hasta &#8220;<strong>Rapha\u00ebl ou le D\u00e9bauch\u00e9<\/strong>&#8221; (<strong>1971<\/strong>) pel\u00edculas que a veces firma \u00e9l mismo. Con el \u00e9xito de esta \u00faltima pel\u00edcula, que sigue a las de &#8220;<strong>Benjamin ou les M\u00e9moires d&#8217;un puceau<\/strong>&#8221; (<strong>1968<\/strong>) y &#8220;<strong>L&#8217;Ours et la poup\u00e9e<\/strong>&#8221; (<strong>1969<\/strong>), una de las \u00faltimas pel\u00edculas de <strong>Brigitte Bardot<\/strong>, adquieren en el seno del cine franc\u00e9s una notoriedad de finura y elegancia, centrada en las relaciones de pareja.<\/p>\n<p>Posteriormente, sus pel\u00edculas llevan a menudo la marca de una atenci\u00f3n original a la forma: sus adaptaciones de &#8220;<strong>Dossier 51<\/strong>&#8221; en c\u00e1mara subjetiva o, a la inversa, de la Enfermedad de Sachs, donde se oyen los pensamientos de los protagonistas, el encadenamiento de secuencias en elipses de &#8220;<strong>Danger en la demeure<\/strong>&#8220;, el pl\u00e1stico de &#8220;<strong>Toutes peines confondues<\/strong>&#8220;, &#8220;<strong>La Petite Bande<\/strong>&#8221; sin di\u00e1logo, etc. A partir de &#8220;<strong>Danger en la demeure<\/strong>&#8221; en <strong>1984<\/strong>, colabora con <strong>Rosalinde Deville <\/strong>su esposa, que escribe y produce la mayor\u00eda de sus pel\u00edculas, entre ellas &#8220;<strong>Le Paltoquet<\/strong>&#8221; en <strong>1986<\/strong>, sulf\u00farico ballet que transcurre entre el sue\u00f1o y la realidad. En la d\u00e9cada de <strong>1990<\/strong>, su producci\u00f3n se ralentiza en una pel\u00edcula cada tres a\u00f1os aproximadamente.<\/p>\n<p>Falleci\u00f3 el 16 de febrero de <strong>2023<\/strong> en su domicilio<\/p>\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n<p><strong>&#8220;Une balle dans le canon&#8221;<\/strong><\/p>\n<p><strong>Direcci\u00f3n: Michel Deville<\/strong><br \/><strong>Con: Pierre Vaneck, Mijanou Bardot, Paul Frankeur, Roger Hanin<\/strong><br \/><strong>Francia<\/strong><br \/><strong>1958<\/strong><br \/><strong>85 minutos<\/strong><\/p>\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n<h3 style=\"text-align: center;\"><a href=\"https:\/\/profesordefrancesenmadrid.com\/index.php\/le-film-du-dimanche-soir\/\" target=\"_blank\" rel=\"noopener\"><strong>+ de Le film du dimanche soir<\/strong><\/a><\/h3>\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n<h3 style=\"text-align: center;\"><a href=\"https:\/\/profesordefrancesenmadrid.com\/index.php\/cultura-francesa-en-madrid\/\" target=\"_blank\" rel=\"noopener\"><strong>+ de Cultura francesa<\/strong><\/a><\/h3>\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Dos j&oacute;venes &laquo;paras&raquo; de regreso de Indochina, Tony y Dick, invierten en una caja de Pigalle el &laquo;Tip Tap&raquo;, los 25 millones que les ha confiado &laquo;Le Maltais&raquo;. Pero este &uacute;ltimo aparece y reclama su dinero. Obligados a vender, los dos j&oacute;venes ser&aacute;n interpretados por &laquo;P&eacute;p&egrave;re&raquo;, el antiguo propietario&#8230;<\/p>\n","protected":false},"author":3,"featured_media":10299,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[67,23,46],"tags":[],"class_list":["post-10296","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cine","category-cultura-francesa-en-madrid","category-le-film-du-dimanche-soir"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le 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