Festival du film maudit, Biarritz, France, July–August 1949

caboose is pleased to make available the extremely rare 43-page catalogue for the 1949 Festival du film maudit in Biarritz, France, organised by Jean Cocteau, André Bazin, Roger Leenhardt and others with writings, artwork and photographs by a who’s who of the most celebrated, overlooked and ‘accursed’ artists, filmmakers and writers of the day. Our copy is even signed by Jean Cocteau!

caboose is planning a translated edition of the catalogue with commentary, but in the meantime you can view free of charge the original French edition, an extreme rarity that many film buffs and historians have never laid eyes on.

The films shown in the festival are not listed in the catalogue, so we are listing them here (to the best of our knowledge—corrections welcome), in chronological order of production. Thanks to Colin Crisp for helping establish the list. Following the list of films from the first festival in 1949 is a list of films from the second and final Festival du film maudit in 1950, in the order they were screened. This, we believe, is a definitive list.

View the 1949 Festival du film maudit catalogue here.

Festival du film maudit, 1949

  • Kuhle Wampe oder Wem gehört die Welt? (Slatan Dudow, Germany, 73’, 1932)
  • Zéro de conduite (Zero for Conduct, Jean Vigo, France, 47’, 1933)
  • L'Atalante (Jean Vigo, France, 89’, 1934)
  • The Long Voyage Home (John Ford, U.S.A., 105’, 1940)
  • The Flame of New Orleans (René Clair, U.S.A., 79', 1941)
  • Quattro passi fra le nuvole (Four Steps in the Clouds, Alessando Blasetti, Italy, 95', 1942)
  • The Shanghai Gesture (Josef von Sternberg, U.S.A., 99’, 1942)
  • The Magnificent Ambersons (Orson Welles, U.S.A., 88', 1942)
  • Lumière d'été (Jean Grémillon, France, 112’, 1943)
  • Ossessione (Luchino Visconti, Italy, 140’, 1943)
  • None but the Lonely Heart (Clifford Odets, U.S.A., 113’, 1944)
  • Address Unknown (William Cameron Menzies, U.S.A., 75', 1944)
  • Les Dames du Bois de Boulogne (Robert Bresson, France, 90’, 1945)
  • Die letzte Chance (The Last Chance, Leopold Lindtberg, Switzerland, 113’, 1945)
  • The Southerner (Jean Renoir, U.S.A., 92’, 1945)
  • Unter den Brücken (Under the Bridges, Helmut Käutner, Germany, 99’, 1946)
  • Roma città libera (Rome, Free City, Marcello Pagliero, Italy, 81’, 1946)
  • La Bataille du rail (The Battle of the Rails, René Clément, France, 85’, 1946)
  • Mourning Becomes Electra (Dudley Nichols, U.S.A., 173', 1947)
  • Fireworks (Kenneth Anger, U.S.A., 20’, 1947)
  • Ride the Pink Horse (Robert Montgomery, U.S.A., 101’, 1947)
  • The Lady from Shanghai (Orson Welles, U.S.A., 87’, 1947)
  • Initiation à la danse des possédés (Jean Rouch, France–Niger, 25’, 1949)
  • Jour de Fête (Jacques Tati, France, 70', 1949)

Festival du film maudit, 1950

  • They Lived by Night (Nicholas Ray, U.S.A., 94', 1949)
  • Brighton Rock (John Boulting, U.K., 92', 1947)
  • Kings Row (Sam Wood, U.S.A., 127', 1942)
  • “Short Russian Films”
  • The Capture (John Sturges, U.S.A., 91', 1950)
  • Crossfire (Edward Dmytrk, U.S.A., 86', 1947)
  • Jammin' the Blues (Gjon Mili, U.S.A., 10', 1944)
  • Give us this Day (Edward Dmytryk, U.S.A., 120', 1949)
  • The Spider and the Fly (Robert Hamer, U.K., 92', 1949)
  • Désordre (Jacques Baratier, France, 18', 1949)
  • selection of “Pete Smith Specialties” (U.S.A., 1940s)
  • Intruder in the Dust (Clarence Brown, U.S.A., 87', 1949)
  • I fuorilegge (The Outlaws, Aldo Vergano, Italy, 81', 1949)
  • Guernica (Robert Hessens & Alain Resnais, France, 13', 1950)
  • Cisaru Slavik (The Emperor's Nightingale, Jiri Trnka, Czechoslovakia, 67', 1948)
  • Cronaca di un amore (Michelangelo Antonioni, Italy, 98', 1950)
  • Detstvo Gorkogo (The Childhood of Maxim Gorky, Mark Donskoy, U.S.S.R., 98', 1938)
  • The Third Thrust (Igor Savchenko, U.S.S.R., 1948)
  • The 39 Steps (Alfred Hitchcock, U.K, 86', 1935)
  • Whiskey Galore (Alexander Mackendrick, U.K., 82', 1949)
  • Major Barbara (Gabriel Pascal, U.K., 131', 1941)