Alexandre Trauner

Alexandre Trauner, born on August third, nineteen oh six, was a renowned Hungarian film production designer whose artistic journey began at the Hungarian Royal Drawing School. In nineteen twenty-nine, he fled his homeland due to the oppressive antisemitic regime of Admiral Horthy, seeking refuge in Paris where he would carve out a significant place in the film industry.

In Paris, Trauner honed his craft under the mentorship of set designer Lazare Meerson at the Épinay-sur-Seine studios. His early work included notable films such as À nous la liberté in nineteen thirty-two and La Kermesse héroïque in nineteen thirty-five. By nineteen thirty-seven, he had ascended to the role of chief set designer, marking the beginning of a prolific career.

Trauner's collaboration with director Marcel Carné was particularly fruitful, resulting in iconic films like Port of Shadows in nineteen thirty-eight, Le Jour se lève in nineteen thirty-nine, and the celebrated Children of Paradise in nineteen forty-five. Remarkably, he worked in secrecy on Children of Paradise during the Nazi occupation of France, showcasing his resilience and dedication to his art.

His partnership with director Billy Wilder spanned two decades, during which he contributed to eight films from nineteen fifty-eight to nineteen seventy-eight, including the Academy Award-winning The Apartment in nineteen sixty. Trauner's innovative use of false perspective became a hallmark of his design style. He also lent his talents to other notable films such as John Huston's The Man Who Would Be King in nineteen seventy-five and Luc Besson's Subway in nineteen eighty-five.

In nineteen eighty, Trauner served as a jury member at the thirtieth Berlin International Film Festival, further solidifying his status in the cinematic world. His legacy as a masterful scenographer and production designer continues to inspire filmmakers and artists alike.