If we merely looked at contemporary advertisements and reviews, it would appear that Musidora had directed only two films in the silent era: Vicenta (1919), and La terre des taureaux/The Land of the Bulls (1924). These credits can be further substantiated by personal statements about the making of these films published by Musidora herself in contemporary periodicals. There, she additionally claimed credit for writing both scripts as well as for editing La terre des taureaux. However, on the two other films that were produced under the banner of her company, Société des Films Musidora, she credited as director her codirector Jacques Lasseyne. Even the richly illustrated publicity booklets of Pour Don Carlos/For Don Carlos (1921) and Soleil et ombre/Sun and Shadow (1922) listed Musidora only in the cast, and her article in the magazine Ève bore the telling title “Comment j’ai tourné ‘Don Carlos’” or “How I Acted in Don Carlos” (10). After the 1940s, however, Musidora began to claim the codirector and adaptation credits of these productions for herself, and these credits have now been accepted as definitive. Additionally, she added the credit for codirection, with Roger Lion, for La flamme cachée/The hidden flame (1918), which she mentioned in a 1950 article on her professional collaboration with her artistic mentor and longtime friend, Colette.
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