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Georges Lautner

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His cinema is full of policemen and gangsters, almost always eager to leave their violent world, but for one reason or another they don’t succeed. Georges Lautner obtained the greatest success of him in front of various films starring Jean-Paul Belmondo. The French filmmaker died on November 22, 2013, in Paris, at the age of 87, as a result of a long illness. “His work as a scriptwriter and director is unforgettable,” said Aurélie Filippetti, the French Minister of Culture.

Born in Nice on January 24, 1926, Georges Lautner was the son of the French actress Renée Saint-Cyr , and the Austrian jeweler and aviator Leopold Lautner. After fighting in World War II, he began his journey in the cinema as a decorator, in the film La route du bagne .

After several years as an assistant director, Georges Lautner made his directorial debut with La môme aux boutons , although it was better received by the public Espionage vs. Espionage , a thriller about an intelligence agent who must return to action.

The parody of gangster cinema, Gangster a la fuerza , with Lino Ventura as a retired gangster who, despite leading an honest life, promises his former boss that he will take care of his ‘business’ , also triumphed on international billboards . The actor would shoot a very similar film under his orders, Gangsters Don’t Retire , which didn’t get the same recognition. In Le Pacha , Jean Gabin plays an inspector about to retire, who investigates the death of a colleague.

I impose my law with blood and fire , from 1979, inaugurates a series of collaborations with the actor Jean-Paul Belmondo , who this time plays a secret agent investigating a murder in Nice. It is followed by The King of the Scam , Nice and cheeky and above all, The Professional , with the actor as a spy seeking revenge after being betrayed by his own.

He came to direct Robert Mitchum in the French film Violent Impulse , from 1989, about a police investigation. The director retired in 2000, after an episode of the television series Les redoutables .

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