Louis Malle.

In 1950, Louis Malle entered the Institute of Advanced Cinematographic Studies in Paris despite his family’s discouragement. He was the fifth of seven children born to Françoise Béghin and Pierre Malle, descendants of a French nobleman who made a fortune in beet sugar during the Napoleonic Wars. Before film, Malle studied political science at Sciences Po. His experience at Catholic boarding schools during the German occupation later inspired his masterpiece Au Revoir Les Enfants 1987.

Malle began his film career as an assistant to Robert Bresson, then joined Jacques-Yves Cousteau as a camera operator on the Calypso. Cousteau promoted him to co-director of The Silent World 1956, which won the Palme d’Or. His third film, The Lovers 1958 starring Jeanne Moreau, broke on-screen eroticism taboos and led to a 1968 U.S. Supreme Court reversal of an obscenity conviction. Though associated with the French New Wave, Malle was not considered a central auteur. He moved to America for Pretty Baby 1978, which made Brooke Shields an international star, and followed with Atlantic City 1980, which earned Oscar nominations for Burt Lancaster and Susan Sarandon. In France, Au Revoir Les Enfants 1987 won the César for Best Film and Best Director. His final film, Vanya on 42nd Street 1994, again blurred life and art.

Louis Malle was married twice: first to Anne Marie Deschodt, then to actress Candice Bergen. He had three children: Chloe, Justine, and Manuel. He was the son-in-law of ventriloquist Edgar Bergen. Malle died of lymphoma at his home in Beverly Hills, California, on November 23, 1995, at age 63.

Malle directed three actors to Oscar-nominated performances: Burt Lancaster and Susan Sarandon in Atlantic City 1980, and Miranda Richardson in Damage 1992. Atlantic City 1980 was selected for the National Film Registry. He served as president of the Cannes Film Festival jury in 1993 and was voted the 40th greatest director of all time by Entertainment Weekly. His deeply personal film Au Revoir Les Enfants remains a landmark of French cinema. Malle is remembered for his refusal to repeat himself, exploring new subjects and styles in every film.