Henri- Georges Clouzot is an award-gaining French movie writer, director, and producer. He has committed to many projects as the director, writer, producer or a mixture of the three. His first fiction film was the 1942 story The Murderer Lives at Number 21 in French known as L'Assassin Habite Au 21, which highlighted Clouzot as both director and screenwriter. After the release of The Raven Click to look into! >> Read More... The Raven , Clouzot found himself stopped from making films until 1947.

In fresh and mid-'50s that Clouzot grew embraced by global critics and audiences, with the announcements of The Wages of Fear in French named as Le Salaire de la Peur in the year 1953 and Diabolique in French named as Les Diaboliques. Clouzot's later performance was held behind due to his declining physical condition, which made it imperative to leave his creation of L'Enfer. He delivered his final film La Prisonnière in the year 1966. Claude Chabrol took L'Enfer's script in the year 1994. Once promoted as the French Alfred Hitchcock, Henri-Georges Clouzot was recognised as much for his wild personal life as for his lasting contributions to contemporary cinema.

After earning his debut with the uncharacteristically light-minded story The Murderer Lives at Number 21 in the year 1942, Clouzot attracted the ire of both the Vichy newspapers and the resistance change of engaged France for his sombre drama The Raven in 1943. Condemned as a contributor, due to the last film's noted negative depiction of the French people, Clouzot was prevented from filmmaking for days after France's deliverance. With the help of such fans as Jean-Paul Sartre, the punishment was reduced to two years, providing the writer-director for installing a comeback with a series of well-received projects.

His recognised masterpieces came in the next decade with the nail-biting story of suspense, Wages of Fear in 1952 supported by the claustrophobic thriller movie Diabolique in 1955. A rare documentary, concentrating on the life and work of his longtime colleague, The Mystery of Picasso in 1956, and an emotional drama featuring Brigitte Bardot, The Truth in 1960, made Clouzot into the following decade. By that time, though, the influential movie critics of Cahiers du Cinema had rejected the established filmmaker's job as simple, unimportant shows.

Although chronic disease and personal difficulties kept him from recovering his vaunted standing during his lifetime, the past would soon settle Clouzot as one of the most famous and important filmmakers of the 20th- Centenary.