The segment of the thread on First Natl. sources dealing with Monsieur Verdoux (???) made me realize I knew very little about Curt Courant. So I did a little research. Now, I don't claim I've gotten anything like a comprehensive understanding of who he was (the easily available resources aren't very helpful re. his private life) or that I'm an expert. But a look at who he worked with, and what he worked on, is revealing. And, it raises some interesting questions.
Courant was from a Jewish family, born in Germany in 1895. He got his start in film during WWI in Germany and Italy. His reputation grew, at the crest of the German Expressionist movement, to the point that he was known as 'one of Europe's finest cameramen during the 20s and 30s.' By the end of the 20s, Courant was esteemed enough to be asked to film 'Die Frau im Mond', the second sci-fi made by Fritz Lang (himself known for his 'mastery of the film medium and especially his skill with architectural design and pictorial composition'
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Anticipating trouble with the Nazis, Courant moved to England in 1933. Apparently, his German expressionist sensibilities met with the approval of Alfred Hitchcock, who used Courant to film 'The Man Who Knew Too Much.' A few comments I found in reviews of that 1934 work: 'The thing I love most about very early Hitchcock is the German influence...The cinematography is wonderful. Even the classic 39 Steps filmed the following year does not make such extensive use of 'camera tricks' (as Hitch would come to deride them later in his career). The closeups of Frank Vosper's hair, the pin associated with Nova Pilbeam, the POV shots of Edna Best's fainting and Hugh Wakefield tuning out at the church, the entire Albert Hall sequence...There are plenty of striking frame compositions... and revealing pans a la Carl Dreyer...Is the acting solid?...Let's say the acting is great in the context of the film...But the camerawork carries the day.' Courant worked a few more years in England, being credited as 'lighting director' on a 1936 remake of 'Broken Blossoms.'
Next, Courant worked on several French productions, including filming 'La Bete Humaine' with Jean Renoir. Again, a few comments from reviews: 'Jean Renoir's 'La Bête humaine' is an excellent screen adaptation of Émile Zola's novel, which also contains some excellent photography...All of this comes together in the outstanding opening sequence, which shows Lantier's train rushing across the countryside. The beautiful photography and skillful editing help us to feel as if we were in the train with him...' 'Renoir's international reputation was enhanced by 'La Bete humaine,' a tragedy of the railroads adapted from a Zola novel. The film remains memorable for the beauty and power of its imagery...'
His last credited European work was as photographer on the 1940 release 'De Mayerling a Sarajevo,' directed by Max Ophuls. Ephraim Katz said of Ophuls 'His reputation as one of the great directors of cinema stems not from the content of his films, which was often rather flimsy, but from their form. Ophuls was a virtuoso of the directing style that emphasized the mise-en-scene. His camera was incredibly fluid, constantly moving in an intoxicating array of tracking shots, crane shots, tilts, and pans, and sensuously caressing the luxurious baroque texture of the timeless world in which his romantic characters moved.'
The only other credit I found which might have been prior to Monsieur Verdoux, was as a 'technical director' on 'The Sin of Harold Diddlebock' a sequel to Harold Lloyd's 'The Freshman.'
Now, even the most generous of Chaplin scholars and critics don't use terms consistent with those used to describe Courant's other works. Even George Shelps has noted the lack of those characteristics in Chaplin's films, specifically mentioning 'Monsieur Verdoux' in that context on this newsgroup on several occasions. Yet for some reason, Shelps has chosen to champion Richard Fielding's contention that MV is Courant's film, and Rollie a mere figurehead. That in spite of Shelps own previous characterizations of MV more in keeping with Chaplin and Rollie's other collaborations than what seem to be consistent with Courant's antecedent efforts.
So, the obvious question is, what exactly are the Courant influences (which Shelps previously overlooked), that led Fielding to his contention and now Shelps championing of it?
Or, is it more likely that Shelps was correct in his original assessment (and other factors are now coloring his judgement), indicating Verdoux is more reasonably seen as a Chaplin/Totheroh work than it is indicative of Courant's imprint.
