Yves Boisset, a prominent figure in 1970s political cinema, passed away at 86. Celebrated for his bold films such as *L’Attentat*, *R.A.S*, and *Dupont Lajoie*, Boisset’s work often confronted censorship and social injustices. Born in Paris and initially a journalist, he transitioned from light-hearted films to powerful narratives, facing controversies throughout his career. Later, he focused on television, producing significant works until his death, while also authoring memoirs that reflected on his experiences in the film industry.
The Legacy of Yves Boisset: A Vanguard of Political Cinema
Yves Boisset, a director who left an indelible mark on the cinematic landscape of the 1970s with his politically charged films, passed away on Monday at the age of 86, as confirmed by his family to AFP. Renowned for his bold storytelling that often challenged censorship, Boisset created significant works during that era, including *L’Attentat*, which addressed the Ben Barka affair, *R.A.S*, which focused on the Algerian war, and *Dupont Lajoie*, a film that tackled the issue of everyday racism. He spent his final days receiving care at the Franco-British Hospital in Levallois-Perret, Hauts-de-Seine.
As a leftist filmmaker drawing inspiration from real events, Boisset viewed each of his films as an act of resistance, aiming to expose *’the stupidity of which racism is a specific variant’* and to *’seek the truth’*. After directing around twenty feature films, he transitioned to television in 1991, driven by an unyielding passion – described by critics as *’bordering on recklessness’* – to confront social injustices.
A Journey Through Controversy and Triumph
Born on March 14, 1939, in Paris, Boisset graduated in cinema and served in the military in Algeria. He began his career as a journalist for the monthly magazine *Cinéma* and assisted renowned directors such as Jean-Pierre Melville and Vittorio de Sica. His debut film in 1968, *Coplan sauve sa peau*, was a light-hearted B-movie, but he quickly shifted his focus to more profound narratives, directing ten films in just a decade. Notable among them was *Un condé* (1970), featuring Michel Bouquet, which gave a dark portrayal of the police and marked the beginning of his struggles with censorship.
In 1972, he released *L’Attentat*, starring Jean-Louis Trintignant, inspired by the assassination of Moroccan opponent Mehdi Ben Barka in France. The film fiercely criticized the Gaullist regime, leading to filming restrictions in various locations.
Just a year later, *R.A.S* (‘Rien à signaler’) premiered, making Boisset one of the first filmmakers to delve into the Algerian war. This tale of insubordination faced backlash from far-right figures, including Jean-Marie Le Pen, and endured censorship that forced the shortening of torture scenes. Despite challenges such as stolen reels and funding hurdles, *R.A.S* emerged as a public success.
His most well-known film, *Dupont Lajoie*, released in 1975, was based on racially motivated murders that occurred in Marseille. Jean Carmet’s performance stood out amidst the tumultuous backdrop of threats and intimidation from far-right groups during filming and the film’s release, which even resulted in canceled screenings.
Continuing his fervent exploration of truth, Boisset directed *Le Juge Fayard dit le Shériff* in 1977, starring Patrick Dewaere, which revolved around the assassination of Judge François Renaud. Boisset encapsulated his film’s essence by stating it was about a character who *’desperately seeks for the truth to triumph and who will pay for it.’* The film faced censorship from the SAC (Civic Action Service), leading to clever edits where mentions of the organization were beeped out, ultimately creating a buzz that only enhanced the film’s visibility.
As a screenwriter and director, Boisset also helmed notable films such as *Espion, lève-toi* (with Lino Ventura), *Canicule* (with Lee Marvin), and *Bleu comme l’enfer* (with Lambert Wilson). One of his significant successes was *Un taxi mauve* (with Philippe Noiret and Charlotte Rampling). However, after years of battling obstacles in filmmaking, he turned to television in 1991, stating, *’I tried to survive by making TV films that often reflected obvious social concerns.’*
He continued to create impactful works, including *L’Affaire Seznec* in 1993, *L’Affaire Dreyfus* in 1995, *Le Pantalon* in 1997, *Les Mystères sanglants de l’Ordre du temple solaire* in 2006, and *L’Affaire Salengro* in 2009. His contributions were recognized with multiple awards.
A passionate athlete in his youth, Boisset, who was a father of three, also published his memoirs in 2011 titled *La Vie est un choix*. In this book, he accused former socialist minister Michel Charasse of initiating a tax audit during the production of a film that could have embarrassed President François Mitterrand concerning arms trading—a project that ultimately never came to fruition.