Question: Are both directors of films Le Silence De La Mer (1949 Film) and A Hen On A Wall from the same country?

<P0-S0> A Hen on a Wall (French: <P0-S1> Une poule sur un mur) is a 1936 French crime film directed by Maurice Gleize and starring Jules Berry, Pierre Larquey and Christiane Delyne. <P0-S2> The title refers to a French children's song. <SEP> <P1-S0> Le Silence de la mer (English: <P1-S1> The Silence of the Sea) is a 1949 film by Jean-Pierre Melville. <P1-S2> It was Melville's first feature film, and was based on the 1942 book of the same name by Jean Bruller (published clandestinely under the pen name "Vercors"). <P1-S3> The story, which takes place in 1941, concerns the relationship of a Frenchman (Jean-Marie Robain) and his niece (Nicole Stéphane) with a German lieutenant, Werner von Ebrennac (Howard Vernon), who occupies their house during the German occupation of France. <P1-S4> The film was actually shot inside Bruller's own home outside of Paris. <P1-S5> The film has been described as an "anti-cinematographic" film due to the unique method of narration used to give voice to the (mostly) silent Frenchman and his niece. <P1-S6> It was made shortly after Melville was demobbed from the French Resistance and is one of several films made by Melville on the Resistance, along with "Léon Morin, prêtre" and "L'armée des ombres". <P1-S7> The film is coloured by Melville's own experience of the sacrifices and the painful moral intransigence that resistance demands. <P1-S8> An unnamed Frenchman and his niece are obliged to provide lodgings for a German officer and register their resistance by refusing to speak to him. <P1-S9> Maintaining their silence becomes harder as the officer, von Ebrennac, talks to them, and reveals a decency and his own doubts about the war. " <P1-S10> He's clearly related to von Stroheim's sympathetic commandant in Renoir's "La Grande Illusion", a figure whose loyalty is to something greater than nationalism. <P1-S11> His unwilling hosts-[and] the echo chamber [of] their mute opposition makes him question both himself and his mission." <P1-S12> It's a remarkably assured apprentice work. <P1-S13> Melville and his cameraman Henri Decae show considerable cinematic technique: despite much of the film taking place in a single room, they avoid any sort of claustrophobia." <P1-S14> Von Ebrennac's monologues and the extensive voiceover mean that, the title notwithstanding, there is a significant amount of talk. <SEP> <P2-S0> Les Enfants Terribles(" The terrible children") is a 1950 French film directed by Jean- Pierre Melville and based on Jean Cocteau's novel," Les Enfants Terribles". <P2-S1> The first feature film of Melville," Le Silence de la Mer"( 1949), attracted the attention of Jean Cocteau, who commissioned him to direct the film version of" Les Enfants Terribles". <SEP> <P3-S0> Decaë also edited and mixed the sound. <P3-S1> They had been lucky as Decaë was finding it hard to get work at that time as he was being informally shunned by many after participating in a critical film about the Korean War. <P3-S2> Decaë first worked as a cinematographer with Melville on" Le Silence de la Mer"( 1949). <P3-S3> He made the New Wave possible, backing up Melville, Malle, Chabrol and Truffaut." <P3-S4> ( Marie, 2003 p 89) <P3-S5> Decaë is strongly associated with directors who strongly influenced, or were part of, the French New Wave. <P3-S6> After the war he began making documentary shorts, directing and photographing industrial and commercial films. <P3-S7> By the time Decaë worked for François Truffaut on" The 400 Blows" he came with a reputation, which meant that he was the highest- paid person on the film. <P3-S8> For bibliographical references see bibliography under Cinema of France. <P3-S9> Although Decaë worked with Melville on" Les enfants terribles", which as Williams commented( 1992, p333)" ... the work is more accurately to be viewed as a stunning demonstration of the cinematic possibilities of faithful literary adaptation in the hands of a gifted director", according to Marie( p 88) it was his distinctive camera work on" Bob le flambeur" which caught the attention of the" Cahiers" critics. <P3-S10> Decaë's liking for natural light, his ability to work at speed as well as his excellent photographic sensibility led to him working with René Clément on several features beginning with" Plein soleil"( 1960). <P3-S11> It was Decaë" ... who liberated the camera, from its fixed tripod. <P3-S12> He was a photojournalist in the French army during World War II. <P3-S13> In 1947 he made his first feature film. <P3-S14> Malle hired him for his first two features and Chabrol for his first three features. <SEP> <P4-S0> Maurice Gleize (1898–1974) was a French screenwriter and film director. <SEP> <P5-S0> Jean-Pierre Melville (born Jean-Pierre Grumbach; 20 October 1917 – 2 August 1973) was a French filmmaker. <P5-S1> While with the French Resistance during World War II, he adopted the nom de guerre Melville as a tribute to his favorite American author, Herman Melville. <P5-S2> He kept it as his stage name once the war was over. <P5-S3> Spiritual father of the French New Wave, he influenced the new generation of filmmakers in Asia (John Woo, Ringo Lam, Johnnie To, Takeshi Kitano), in Europe (Aki Kaurismäki, Rainer Werner Fassbinder), and in America (Michael Mann, Walter Hill, Quentin Tarantino, William Friedkin, Jim Jarmusch).