Directing

Jean Tarride

Born March 15, 1901 · Paris, Ile-de-France, France

Died June 5, 1980 · aged 79

No biography available.

Known For

ÉtienneÉtienne · 1933
Étienne
9.01933
MovieComedyDrama
Étienne, a very sensitive being, watches helplessly as his mother suffers from his father's infidelities. He tries to seduce his father's next conquest without his knowledge.
HerculeHercule · 1938
Hercule
6.71938
MovieComedy
Hercule, a young peasant, inherits a Parisian newspaper with a large circulation. The editor-in-chief, Vasco, takes advantage of his ignorance to make corruption prevail. But Hercules gradually realizes the role that we make him play.
After the StormAfter the Storm · 1941
After the Storm
7.01941
MovieComedyDrama
René Sabin, engineer, disappointed by failures, leaves his village in the South to go to Paris with friends. In the capital, he befriends dubious people, in particular Alex Krakow who does not disdain shady business. Then comes the war. René is mobilized then returns to the country, and finds with joy his fiancée.
SkylarkSkylark · 1934
Skylark
5.31934
MovieComedyAdventure
Adémaï is forcibly engaged to the farmer's daughter. He tries in vain to get rid of it and, weary of the struggle, flees in a plane with his comrade Michelet whom he believes to be an instructor. For three days and three nights, the unfortunates turn in a closed circuit, thus beating the world record.
The Beautiful Woman Without MercyThe Beautiful Woman Without Mercy · 1921
The Beautiful Woman Without Mercy
7.01921
MovieDramaRomance
"Taking its title from John Keats’s early 19th-century poem, this highly personal melodrama finds Dulac interrogating the archetype of the femme fatale. La belle dame sans merci follows a famous actress who was once seduced and abandoned by a rich man and subsequently resolved to become a “merciless woman,” forever scheming to hurt others (men in particular) in a ruthless yet captivating manner. Dulac challenges the Romantic archetype embodied in Keats’s poem by way of symbolist mise en scène, self-reflexive narration, and her typically associative approach to editing, locating a modern ambiguity within the stereotypical figures of 19th-century art." - Film Society of Lincoln Center
Le mort ne reçoit plusLe mort ne reçoit plus · 1944
Le mort ne reçoit plus
7.01944
Movie
In his will, the late Jérôme Armandy has expressed the wish to have all the surviving members of his family summoned to the Château de l'Etang, in Provence. Firmin, Jérôme's servant, asks Claude, a Montmartre artist, to organize the reunion, to find the sum of 17 million francs which is hidden there (as a child he had been told by Armandy where the hiding place was) and to divide the amount between the different heirs. But a series of odd facts occur: Claude is knocked unconscious as he is busy opening the hiding place door; one of the heirs gets killed; and even more astounding, the dead man reappears and... asks his money back!
The Yellow DogThe Yellow Dog · 1932
The Yellow Dog
6.51932
MovieCrimeMystery
Maigret investigates in Concarneau where the passage of a yellow dog accompanies a series of murders, sowing terror in the population. The police seem helpless. It must be said that it has no significant evidence.
The Duraton FamilyThe Duraton Family · 1940
The Duraton Family
5.31940
MovieComedy
Unbeknownst to the members of a French family, a radio announcer makes them the subject of a broadcast.

Filmography

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The Beautiful Woman Without MercyThe Beautiful Woman Without Mercy · 1921
The Beautiful Woman Without Mercy
7.01921
MovieDramaRomance
"Taking its title from John Keats’s early 19th-century poem, this highly personal melodrama finds Dulac interrogating the archetype of the femme fatale. La belle dame sans merci follows a famous actress who was once seduced and abandoned by a rich man and subsequently resolved to become a “merciless woman,” forever scheming to hurt others (men in particular) in a ruthless yet captivating manner. Dulac challenges the Romantic archetype embodied in Keats’s poem by way of symbolist mise en scène, self-reflexive narration, and her typically associative approach to editing, locating a modern ambiguity within the stereotypical figures of 19th-century art." - Film Society of Lincoln Center

Hubert d'Amaury