Jean Epstein (French: [ɛpˈʃtajn]; March 25, 1897 – April 2, 1953) was a French filmmaker, film theorist, literary critic, and novelist. Although he is remembered today primarily for his adaptation of Edgar Allan Poe's The Fall of the House of Usher, Epstein directed three dozen films and was an influential critic of literature and film from the early 1920s through the late 1940s. He is often associated with French Impressionist Cinema and the concept of photogénie.

Career

Epstein was born in Warsaw, Poland, to a French-Jewish father and Polish mother. After his father died in 1908, the family relocated to Switzerland, where Epstein remained until beginning medical school at the University of Lyon in France. While in Lyon, Epstein served as a secretary and translator for Auguste Lumière, considered one of the founders of cinema.

Epstein started directing his own films in 1922 with Pasteur, followed by L'Auberge rouge and Coeur fidèle (both 1923). Film director Luis Buñuel worked as an assistant director to Epstein on Mauprat (1926) and La Chute de la maison Usher (1928). Epstein's criticism appeared in the early modernist journal L'Esprit Nouveau.

During the making of Coeur fidèle Epstein chose to film a simple story of love and violence "to win the confidence of those, still so numerous, who believe that only the lowest melodrama can interest the public", and also in the hope of creating "a melodrama so stripped of all the conventions ordinarily attached to the genre, so sober, so simple, that it might approach the nobility and excellence of tragedy". He wrote the scenario in a single night.

Epstein had been much impressed by Abel Gance's recently completed La Roue, and in Coeur fidèle he sought to apply its techniques of rapid and rhythmic editing as well as the innovative use of close-ups and superimpositions of images. These techniques are most apparent during the first half of the film: the opening sequence establishing Marie's situation in the harbour bar through a series of close-ups of her face, her hands, the table and glasses that she is cleaning; the use of images of the sea and the port, either intercut or superimposed, to convey the yearnings of Jean and Marie; and the film's most celebrated sequence at the fairground in which a highly complex series of rhythmically assembled images charts the tension of the relationship between Marie and Petit Paul. The later scenes of the film are relatively conventional in the techniques employed and depend more upon situation and action than upon photography and processing of the images. In the 1920s, Epstein's works would display influences from German Expressionism.

Epstein also made several documentaries about Brittany. These include Finis Terræ filmed in Ouessant, Mor vran (The sea of the crows, in Breton) filmed in Sein, L'Or des mers filmed in Hoëdic, Le Tempestaire filmed in Belle Île. Chanson d'Armor is known as the first Breton-speaking film in history. His two novels also take place in Breton isles: L'Or des mers in Ouessant and Les Recteurs et la sirène in Sein.

In August 2005, his films La Glace à trois faces (1927) and Le Tempestaire (The Tempest) (1947) were restored and re-released on the DVD collection Avant-Garde: Experimental Cinema of the 1920s and 1930s.

Epstein died in 1953 from a cerebral hemorrhage.

Filmography

• Pasteur (1922)
• Les Vendanges (1922)
• La Montagne infidèle (1923)
• Coeur fidèle (1923)
• La Belle nivernaise (1923)
• L'Auberge rouge (1923)
• Le Lion des Mogols (1924)
• La Goutte de sang (1924)
• L'Affiche (1924)
• Les Aventures de Robert Macaire (1925)
• Mauprat (1926)
• Au pays de G. Sand (1926)
• Le Double amour (1926)

• Six et demi onze (1927)
• La Glace à trois faces (1927)
• La Chute de la maison Usher (1928)
• Finis Terræ (1929)
• Sa tête (1929)
• Le Pas de la mule (1930)
• Notre-Dame de Paris (1931)
• Mor vran (1931)
• L'Or des mers (1932)
• L'Homme à l'hispano (1933)
• La Châtelaine du Liban (1934)
• Chanson d'Armor (1934)
• La Vie d'un grand journal (1934)

• Cuor di vagabondo (1936)
• La Bourgogne (1936)
• La Bretagne (1936)
• Vive la vie (1937)
• La Femme du bout du monde (1937)
• Les Bâtisseurs (1938)
• Eau vive (1938)
• La Relève (1938)
• Artères de France (1939)
• Le Tempestaire (1947)
• Les Feux de la mer (1948)

Publications

• Bonjour, cinéma. Paris: La Sirène, 1921.
• La Poésie d'aujourd'hui, un nouvel état d'intelligence. Paris: La Sirène, 1921.
• La Lyrosophie. Paris: La Sirène, 1922.
• Le Cinématographe vu de l'Etna. Paris: Les Écrivains réunis, 1926.
• La Photogénie de l'impondérable. Paris: Corymbe, 1935.
• L'Intelligence d'une machine. Paris: J. Melot, 1946.
• Le Cinéma du diable. Paris: J. Melot, 1947.
• Esprit de cinéma. Genève: Jeheber, 1955.
• Écrits sur le cinéma, 1921-1953: édition chronologique en deux volumes. Paris: Seghers, 1974–1975.

• Les Recteurs et la sirène. Paris: Fernand Aubier/Éd. Montaigne, 1934.
• L'Or des mers. Paris: Librairie Valois, 1932.

• "La chute de la maison Usher," L'Avant scène du cinéma, nos. 313-314 (October 1983).