French writer Lucie Derain described Andrejew at the peak of his career as "an artist of the grand style, blessed with a vision of lyrical quality.
"[1] Edith C. Lee wrote recently: "Believing in creative freedom rather than academic reconstruction, André Andrejew fulfilled the 20th century's notion of the romantic, individualistic artist.
In 1921/1922, he designed stage decorations for the Jasha Jushny's Der Blaue Vogel (Blue Bird), a legendary Russian émigré cabaret at Goltzstrasse in Berlin.
Rudolf Kurtz in his Expressionismus und Film (1926) wrote: Andrejew is a typical Moscow mixture, distinction of the streaked folk art (his decors) dissolves the rhythm of images, creates gentle forms, establishes balance even when everything is broken and torn.
The titles of this period include Dancing Vienna, Pandora's Box, The Threepenny Opera, Don Quixote, The Golem, Meyerling.
Several directors left France escaping the Nazis as Luis Buñuel and Jean Renoir, but the directors who stayed in France like Marcel Carné, Jean Cocteau, Sacha Guitry continued to make films and André Andrejew continued to design and build film décors.
However, the film was disliked by all political parties in postwar France, and there was a strong consensus to treat this movie as a scapegoat for a national feeling of guilt for not putting up enough resistance against Nazi Germany.
Clouzot was at first banned for life from directing films in France; his actors, who acted also in other movies, were sentenced to long prison terms.
Several important personalities in France, including artist Jean Cocteau and philosopher Jean-Paul Sartre, went to the defense of Le Corbeau and Clouzot himself.
Anna Karenina produced by Alexander Korda and directed by Julien Duvivier, with the cinematography by Henri Alekan, costumes by Cecil Beaton and Vivien Leigh in the title part, stands out in Andrejew's work as probably one of his best films.
This production of Anna Karenina takes into account something very important: Upper class Russians were, in effect, Europeans, and they tended to live in the same sort of surroundings as other Victorian-era Europeans did.´[5] In Alexander the Great (1956), Andrejew successfully used existing elements of primitive Spanish architecture to create the richness and glory of ancient Greece and Persia in far more authentic way, than the plaster and plywood decorations in similar Hollywood films of the time.
Edith C. Lee writes about him: As critics began to condemn any strongly stated art direction as distracting, Andrejew slightly toned down his style.
This is a filmography of films made by André Andrejew as a production designer or an art director, as in Europe at the time there was no sharp distinction between these functions.