He was linked to the deaths of five other women, but was not tried in those cases. Lee, 47, was on death row for the 2002 murder of Charlotte Murray Pace, 22, and had a second-degree murder conviction for the death of Louisiana State University graduate student Geralyn DeSoto, 21, who also died in 2002. The death of an unrepentant serial killer at a Louisiana hospital on Thursday prompted an outpouring of emotion.ĭerrick Todd Lee died five days after he was transported from the Louisiana State Penitentiary in Angola for emergency care, state prison officials said. I discuss films like 'La Chienne'-'Scarlet Street', 'Pépé le Moko' and its remakes far less than 'Le Jour se lève'-'The Long Nigh't and 'Pièges'-'Lured' because the former have had major studies devoted to them, while the latter are little discussed. This study has drawn directly on seven ‘original’ French films and their ‘Améremakes’: 'La Chienne' (Jean Renoir, 1931) into 'Scarlet Street' (Fritz Lang, 1945), 'L’Equipage' (Anatole Litvak, 1935) into 'The Woman I Love' (Anatole Litvak, 1937), 'Pépé le Moko' (Julien Duvivier, 1937) into 'Algiers' (John Cromwell, 1938) and 'Casbah' (John Berry, 1948), 'La Bête humaine' (Jean Renoir, 1938) into 'Human Desire' (Fritz Lang, 1954), 'Pièges' (Robert Siodmak, 1939) into 'Lured' (Douglas Sirk, 1947), 'Le Corbeau' (Henri-Georges Clouzot, 1943) into 'The 13th Letter' (Otto Preminger, 1951) and, finally, 'Le Jour se lève' (Marcel Carné, 1939) into 'The Long Night' (Anatole Litvak, 1947). It concludes by questioning the relative merits of approaches to examining remakes that take ‘circles of intertextuality’ or the opposition of ‘original’ and ‘copy’ as central. It looks at narrative organisation, ‘generic familiarisation’ and characterisation and then examines issues of class and the social in relation to war discourses (World War II separating many of the remakes from their French models), then issues of sexuality.
The main body of this chapter then comprises analysis of key Franco-American remakes of the period, and discussion of practices shared amongst them. The essay begins by giving an economic and critical context to the frequency of American remakes of French films in what is termed ‘classical period’, 1930-1960 – particular attention shall be paid to the ‘ideology of the auteur’.
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