Henri Baum

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Henri Baum , born as Heinz Baum (born August 10, 1909 in Wiesbaden ; † after 1980, presumably in France), was a German-born, French film producer and production manager.

Live and act

Nothing is currently known about Baum's origins and career. Heinz Baum, who came from a Jewish family, joined cinematography at the beginning of the sound film era and was in several German films until 1933, including Der Frauendiplomat, The Testament of Cornelius Gulden, Moderne Mitgift and And who kisses me? , worked as assistant director. The takeover of power by the National Socialists in 1933 forced him and his brother Ralph Baum , who was only ten months older and who had also started his career as an assistant director and later also worked as a film producer but also as a film director, to flee in the same year.

Both brothers settled in Paris, where they continued their film work in initially subordinate roles for German directors: Ralph Baum as assistant director for Max Ophüls and brother Heinz, who called himself Henri Baum from then on, as assistant director and production manager for Robert Siodmak . During the Second World War, the Jewish brothers had to go into hiding during the German occupation (1940–1944) and finally joined the Resistance .

After 1945, the Baum brothers, side by side, initially resumed their work for French film: while Ralph was directing (Nuits de Paris, Traumschöne Nacht, Paris, Palace Hotel), Henri took over the production. But then the brothers separated for good, and each of the two Baums concentrated on film production. Henri Baum focused on mostly highly commercial films of a wide variety of genres, but also produced some important productions by respected directors such as Jacques Becker ( Goldhelm ), André Cayatte ( The Black Files ) and Luis Buñuel ( Diary of a Maid of Honor , Belle de Jour - Beauty of the Day ) here. Towards the end of his career, Baum wasn't too good for soft sex erotica like Emmanuela 77 and unrestrained erotica . It is currently not known when Baum died.

Filmography

as a production manager or producer

  • 1936: White freight for Rio (Cargaison blanche)
  • 1938: It should be the tithe (Accord final)
  • 1946: On ne meurt pas comme ça
  • 1947: La colère des dieux
  • 1948: Venus in the car (Tous les chemins mènent à Rome)
  • 1948: Waltz of love (Valse brillante)
  • 1949: Lady Paname
  • 1949: The vagabond of Paris (Ma pomme)
  • 1950: Rendezvous in Paris (Le château de verre)
  • 1951: Parisian Nights (Nuits de Paris)
  • 1951: gold helmet (Casque d'or)
  • 1952: A dreamy night
  • 1953: Madame de ...
  • 1953: Love, women and soldiers (Destinées)
  • 1953: The last stage (Le grand jeu)
  • 1956: Bonsoir Paris (Bonsoir Paris, bonjour l'amour)
  • 1956: Paris, Palace Hotel (Paris, Palace Hotel)
  • 1956: In the swamp of Paris (Le long des Trottoirs)
  • 1956: The Big and Small World (The Ambassador's Daughter)
  • 1957: The Road to Shame (Une Manche et la belle)
  • 1958: Christine
  • 1960: Fatal Encounter (Les magiciennes)
  • 1961: Affair Nina B. (L'Affaire Nina B.)
  • 1961: Bird of Paradise (L'oiseau de Paradies)
  • 1962: Sheherazade - The golden lion of Baghdad (Shéhérazade)
  • 1963: secret agent in Gibraltar (Gibraltar)
  • 1964: Diary of a maid (Le journal d'une femme de chambre)
  • 1964: From now on again precipitation (Faîtes vos jeux, mesdames)
  • 1965: Cards on the table (Cartes sur table)
  • 1966: The secret of Dr. Z (Miss Muerte)
  • 1966: Belle de Jour - Beauty of the day (Belle de jour)
  • 1967: The million dollar duel (Fleur d'oseille)
  • 1971: The stupid pranks of the rich (Les folies bourgeoises)
  • 1972: Le rempart des béguines
  • 1975: The Unshackled (L'agression)
  • 1976: Emanuela 77 (La Marge)
  • 1977: Le dernier meringue
  • 1978: The Witness (Le témoin)
  • 1979: Bobo Jacco
  • 1980: Unrestrained eroticism (Contes pervers)

literature

  • Johann Caspar Glenzdorf: Glenzdorf's international film lexicon. Biographical manual for the entire film industry. Volume 1: A-Heck. Prominent-Filmverlag, Bad Münder 1960, DNB 451560736 , p. 77.

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