A work in constant progress (and occasional regress).
Birthplace:
Paris, France
Born:
October 18, 1930
Died:
February 15, 1990
Michel Drach begins at the time of the New Wave, but belongs to no current. He realizes romantic movies, very political films that scandal movies on very personal melancholy. After studying painting at the Academy of Fine Arts, it is oriented towards the cinema by his cousin Jean-Pierre Melville, where he became the assistant. It begins with short films in a very personal invoice, which Soliloques the poor (1951) and Auditorium (1957) and then passes feature film is not buried on Sunday (1959) study on the existential loneliness of a "Black" in Paris, which earned him the Louis Delluc price announcement by the style of filming and production method, the New Wave. The delicacy and warmth of its beings approach are confirmed in the melancholy or love Amelie time (1962). After the interlude of the Good Occase (1965) and Diamond Safari (1966), it is the auteur cinema (it is writer of all his films) with Elise, or Real Life (1970, according to Claire book Etcherelli), where talent thrives Marie-José Nat, his wife, in the character of a bruised love with a French Algerian (performer Mohamed Chouikh) at the time of the war in Algeria. Its commitment to the left appears again in Violins at the Ball (1974), involved mention of his Jewish childhood during the Occupation, and The Pull-Over Red (1979), a chronicle of an alleged miscarriage of justice. In Speak to Me of Love (1975), The Simple Past (1977) and Guy de Maupassant (1982), he confirms its attractiveness to psychological intrigue. In 1986, Flee Lola, it addresses the issue of cancer, and the relations between grandfather and toddler son in it is awesome Grandpa (1987). He is married to Marie-José Nat with whom he had three children, David, Julian and Aurelian. He is also the cousin of Nicole Stephane.
Director:
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Producer:
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Production Director:
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Scenario Writer:
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Screenplay:
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Second Assistant Director:
1949 The Silence of the Sea
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Writer:
1949 The Silence of the Sea
1960 One Does Not Bury Sunday
1961 Amelie or The Time to Love
1965 The Real Bargain
1966 Diamond Safari
1970 Elise, or Real Life
1974 Violins at the Ball
1975 Parlez-moi d'amour
1977 Replay
1979 The Red Sweater
1982 Guy de Maupassant
1986 Sauve-toi, Lola
1987 Gramps Is a Great Guy!
Director:
1966 Les Compagnons de Jehu
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.