French photographer Jean-Marie Périer's career took a dramatic turn in the 1970s as he transitioned from photography to filmmaking, marking a pivotal decade that would define his artistic legacy. This fourth installment of archival coverage examines how Périer navigated the changing media landscape while working alongside influential figures in French entertainment and publishing.
During this period, Daniel and Frank established themselves as managers of a newsgroup with offices strategically located on the prestigious Champs-Élysées. Within this exclusive creative circle, everything revolved around Régis Pagniez, whose office became the artistic nerve center of the entire operation. The collaboration proved immediately successful when Daniel and Régis launched Lui magazine, which became an instant hit in the French publishing market.
Périer played a crucial role in shaping the magazine's visual direction by convincing the founders to hire Francis Giacobetti, a photographer friend who had spent three years working for Télé7jours magazine. Giacobetti subsequently became the publication's primary photographer, while Daniel earned the nickname "the Emperor" for his commanding presence in the industry.
The transition from still photography to filmmaking proved challenging for Périer, who discovered fundamental differences between the two mediums. "Looking through the viewfinder of a still camera always gave me the wish of making movies. But the two practices really are different," Périer explained. He noted that when photographers make movies, people often praise the beautiful cinematography, but "it is not a compliment, it's like having nothing else to say about a woman that she's got a great hairstyle."
Périer's first foray into filmmaking included "The Children of the Palace," a television film inspired by writer Michel Cournot's text, featuring his father in the role of a judge for delinquent children. This family collaboration would become a recurring theme in his work. Subsequently, he partnered with Jacques Lanzmann to create "Tumuc Humac," a film with such an unusual title that "nobody can remember" it, according to Périer.
The production of "Tumuc Humac" took the crew to French Guiana, where Périer worked with his brother Marc Porel and Dani, a young French singer whom he described as "really beautiful." The film gained historical significance through Périer's collaboration with the last four surviving convicts still living in Cayenne since the closure of the penal colony in 1946. Once again, his father appeared in the film, playing a judge at the beginning of the story.
While Périer continued creating photographs for Salut Les Copains magazine until 1974, his growing fascination with Jacques Dutronc ultimately led him to abandon photography entirely for a six-year period dedicated exclusively to filmmaking. Dutronc captivated Périer with his unique artistic approach, standing apart from the typical singers of the 1960s new wave movement. "He didn't try to adopt an American name and I liked his fragility hidden behind a devastating sense of humor," Périer recalled.
This artistic partnership resulted in "Antoine and Sebastian," another film featuring Périer's father in a key role. Between directing commercial projects, Périer also completed "Mean Dreamer," starring Dutronc alongside Lea Massari. His final film of the decade was "Téléphone Public," which focused on the French rock group Téléphone, capturing the emerging rock scene in France.
The 1970s marked such a complete artistic transformation for Périer that he would not take another photograph until 1990, representing a 16-year hiatus from the medium that had originally established his reputation. This dramatic career shift illustrates the evolving nature of artistic expression in 1970s France and demonstrates how creative professionals adapted to changing cultural landscapes during this transformative decade.
