Philippe de Broca

Philippe de Broca was born on 15 March 1933 in Paris. He was the son of a cinema set designer and the grandson of a well-known painter, Alexis de Broca. He studied at the Paris Photography and Cinematography School (école Vaugirard), graduating in 1953. He carried out his military service with the French Army's service cinématographique des armées (army film service) in Germany and then in Algeria, directing or acting as head cameraman on short films. Greatly affected by the war he witnessed in Algeria, he vowed to show life in its best light in his future films "because laughter is the best defence against upsets in life". After his discharge from the military, he set off on a journey taking in the length of Africa in Berliet trucks before returning to Paris.

He began working as an intern with Henri Decoin, before finding assistant positions with Claude Chabrol: Bitter Reunion (Le Beau Serge), The Cousins (Les Cousins), Web of Passion (À Double Tour), François Truffaut: The 400 Blows (Les 400 Coups) and Pierre Schoendoerffer: Ramuntcho. In 1959, Claude Chabrol produced de Broca's first film for him, The Love Game (Les jeux de l'amour) with Jean-Pierre Cassel. De Broca went on to work with Cassel again in The Joker (Le Farceur, 1960), Five Day Lover (L'Amant de cinq jours, 1961), and Male Companion (Un Monsieur de Compagnie, 1964).

De Broca's first commercial success came with Swords of Blood (Cartouche), filmed in 1962. This film also saw two more names become associated with de Broca: the actor Jean-Paul Belmondo and the producer Alexandre Mnouchkine. International acclaim came with That Man from Rio (L'Homme de Rio) in 1964, Up to His Ears (Les tribulations d'un Chinois en Chine) in 1965, The Man from Acapulco (Le Magnifique) in 1973 and Incorrigible (L'Incorrigible) in 1975.

In 1966, he co-wrote, directed and produced King of Hearts (Le Roi de Cœur). This parody of the Great War, which some cinema-lovers consider his masterpiece, was a commercial and personal failure, to de Broca's dismay. Yet it eventually achieved genuine cult-film status during the mid 1970s when it was presented in repertory movie theaters as well as non-theatrical college and university film series across the United States, eventually running for five years at the now defunct film house, the Central Square Cinemas [2] in Cambridge, Massachusetts. ...