Category: Entertainment

Find all the episodes of “Love Story”, as and when, in our file.

The waves, that’s the main thing. Lying on the sand of Blowhole Beach in Hawaii, Burt Lancaster and Deborah Kerr kiss furiously. He, on his back, embraces this woman who leans over him. She, to the side, seems to be stripping off her old-fashioned bathing suit. He is Milton, the sergeant, she is Karen, the captain’s wife. This kiss – the most famous in the history of cinema – is adultery. In 1953, “As long as there will be men” is a film which smells of sulfur – and lust. Spectators love it. The women swoon. Politicians – we are in the middle of the McCarthy era – are ranting.

Fred Zinnemann, the director, does not back down. And put on the posters: “A courageous film”. Indeed: not only will these two lovers caressed by the waves become famous, but the passion that drives them will set their lives on fire. For a few weeks, Burt Lancaster the s

She takes a boiling coffee pot in the middle of a pear for breakfast. Blistered, bloated, screaming, Gloria Grahame instantly turns into a creature from hell. In Fritz Lang’s Settlement of Accounts (1953), this sexy redhead makes the mistake of arguing with her boyfriend, the very bastard Vince Stone (Lee Marvin), a gangster who is not very respectful of table manners. The scene is going to be set in stone (but for different reasons) by SM enthusiasts, feminists, and the Library of Congress alike. Gloria Grahame will never recover. From now on, she will be the girl to be bullied, the messenger of misfortune, the poison. She should have become a star, she will remain second knife. In cinema, but also in life. Robert Mitchum sums it all up in “Bad Boy Paradise.” He looks at Gloria Grahame’s cleavage and says: “It’s not the Hanging Gardens of Babylon or the Taj Mahal, but it’ll be fine. »

“She has schoolgirl manners and witch eyes. »

This bad girl yet had someone to take from it: Gloria Grahame Hallward descended from the Plantagenets, with a few stars in the family tree, including John of Ghent (1340-1399), pretender to the throne of Castile, Richard III and William Parsons, highwayman hanged in 1751. His ceramist grandfather was the model for Oscar Wilde’s Dorian Gray; his other grandfather, the Duke of Montrose, invented the first aircraft carrier, and papa Hallward, an architect, designed swimming pools. From this line

She lights a cigarette with a gloved hand. Bloodshot eyes, evil mouth, she speaks. In a sharp voice, she describes what she saw in Tangier: “I remember this castrator parading in front of tourists. He leans between his camel’s legs, spreads them apart, grabs a brick in each hand, and bam!, he crushes the animal’s testicles to make a mush of them. » Vivien Leigh, the haughty Scarlett O’Hara of “Gone with the Wind”, evokes the fate she wishes for the man of her life, Laurence Olivier. The couple have just sold the house of happiness, Notley Abbey, a few kilometers from Oxford.

For ten years, they loved each other like crazy, and, as she explains: “We fucked, fucked, fucked. » For ten more years, they hated each other like the devils, before playing together, one last time, Shakespeare, of course. Olivier-Leigh, the royal couple of British theater, the Old Vic’s best-selling poster, have come undone. Outwardly, with dignity. In real life, she dreams of crushing his balls.

It all started as a bushfire. In 1934, a young 21-year-old actress, mother of a little girl for ten months, went to see “Royal Theater” at the Lyric in London. It is a play in three acts by Edna Ferber, future author of “Giant”, a completely asexual woman, and George S. Kaufman, madman of bridge, scriptwriter of the Marx Brothers. On the stage, a confirmed actress, Marie Tempest, and a magnetic stranger

American actress Anne Heche has been pronounced dead after being seriously injured in a car accident in Los Angeles last week, a spokeswoman said Friday (August 12th).

The 53-year-old actress had been in a coma in hospital since a serious brain injury caused by a violent collision on August 5.

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Having lost all her brain functions, Anne Heche “is legally deceased under California law” but his heart is still beating in order to facilitate organ donation, his spokeswoman Holly Baird told AFP.

“Today we lose a radiant light, a gentle and so joyful soul, a loving mother and a loyal friend”the family said in a joint statement.

“Anne will be deeply missed, but her wonderful sons, her immense work and her passionate fights will survive her”she adds.

A Daytime Emmy Award in 1991

Anne Heche acted in a large number of films in the 1990s, including “Six Days, Seven Nights” Where Donnie Brasco. She is also known for her role in the soap opera “Another World,” which won him a Daytime Emmy Award in 1991.

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In the 1990s, she had a high-profile relationship with presenter Ellen DeGeneres.

The actress has been in a coma since her car crashed into a two-story house in the Mar Vista neighborhood, “causing structural damage as well as a heavy fire”according to the Los Angeles Fire Department.

Los Angeles police said in a statement Thursday that they would conduct blood tests on Anne Heche and that investigators would “present the case to the appropriate judicial authority”. The police, however, did not give any details on possible legal consequences.

Local media reported on Thursday that preliminary tests had come back positive for narcotics. But other tests must be conducted to ensure that the positive result is not related to medical treatment. According to TMZ, a publication specializing in celebrity coverage, which cites unnamed law enforcement sources, Anne Heche tested positive for cocaine and fentanyl, an ultra-potent and addictive synthetic opiate used in some treatments.

“My brother Atlas and I have lost our mother”his son Homer Laffoon said in a separate statement. “I hope my mother is no longer in pain”he added.

Frankly, it’s scary. Sadistic laughter, gaping teeth, the build of a Panzer Tiger PZK and the hands of a crusher, Ernest Borgnine is the very incarnation of the bittern-carrion-cow-skin-mastard, yet capable of tenderness. Extraordinary actor with an ultra-full career, he terrified thousands of spectators. We understand that the Nazi officers tremble in their riding breeches when he arrives in “The Dirty Twelve” and that the sultry Mexicans of “the Wild Horde” are worried when he walks quietly, the Winchester 30-30 resting on his elbow, in their cafeteria. Borgnine, all his life, inspired a healthy terror: listening only to their courage which meant nothing to them, most of his adversaries, in films, preferred to turn on their heels rather than face this bison. Hence the discomfort of the interviewer, in his little shoes, facing the granite man, at the Lancaster hotel.

“I am the guy who scares Santa Claus”

May 1973. Ernest Borgnine comes to play in “The Emperor of the North”, a wonderful film by Robert Aldrich set in the era of the Great Depression, in the midst of rail vagabonds. An iron chain in his hand, laughing with all his teeth like dominoes, he corners the stowaways of his train, and throws them onto the tracks, under the wheels of the wagons, condemning them to a horrible death. Lee Marvin, bum nicknamed “N° 1”, resists him. He takes it badly: on a rolling platform, Borgnine

He is boosted, spring-loaded, frenetic. When he speaks, it is in avalanche. When he walks, it’s at the jumping step of the Bersagliers. When he sings, it’s in vivacious tempo. Unquestionably, Joe Pesci is tiring. But effective: in “Les Affranchis”, he sticks a ball from Beretta in the foot of a server, just to play, and, insulted, he finishes off a friend of Carlo Gambino with a kick (bad idea). In “Once Upon a Time in America,” he’s a damn cufflinked hoodlum, as honorable as a rattlesnake. In “8 Heads in a Bag”, he happily tortures kids to extract a tourist’s vacation address from them… Pesci is the terror of thugs, the mechanic of gunslingers, the artist of the badass . You can’t imagine him as a gentle dreamy herbalist in a lavender field, a meditative Hindu chanting “ommm” in an ashram, or (just like that) as a frigid actor at Robert Bresson’s. In forty years, he has shot in only thirty films, married three times, probably divorced even more often, and recorded three discs based on the illusion that he is above all an excellent tenorino. His career is therefore a long mistake: he should never have been an actor. The pinched mouth, the ferocious look, he is famous for his line in “JFK”, a summary of the investigation into the assassination of the president: “It’s a mystery within a riddle within a riddle. » Basically, he defined himself that way.

Seconds

The sultry face, the hanging mustache, the tilted sombrero, the bandido looks muy threatening. At the head of his unshaven guys, in sandals and poncho, he provides. Chuckling, the collar of his jacket largely unbuttoned, the Mexican in chief launches his peons against the trio of suicidal Yankees. Hijo de la chingada ! Blood spurts, heroes shoot, dust flies, and Sam Peckinpah, his eye behind the camera, films it all. Emilio Fernández, who plays General Mapache in “The Wild Horde”, does not spare himself. He yells, cursed, demands the massacre. For a bit he would burst from the screen, with his two No. 3 Schofield 45 caliber Cimarron, spitting the fire of God, to annihilate all the Americanos. This is his great quality: as an actor, he is scary, really scary. Just seeing it makes you want to take refuge with mom. In “Return of the Seven”, he tries to murder Yul Brynner and his mercenaries (good luck!); in “The Caravan of Fire”, he takes it out on John Wayne (too badly with him); in “Bring me the head of Alfredo Garcia”, he is El Jefe, revolted by the pregnancy of his daughter and ready to behead the culprit. In short, Emilio Fernández is a hell of a badass, with 120 films (or more, who knows?) on the clock.

Supporting capital roles: Ernest Borgnine, the face of employment

Actor, then director, always seductive, he practices scorched earth

It is true that, from his beginnings, he had something to hold on to, in the epic of violence on the Rio Gran

♥♥ Nope

Film de science-fiction américain, par Jordan Peele, avec Daniel Kaluuya, Keke Palmer, Steven Yeun (2h15).

« Nope », comme « nan ». Titre énigmatique pour un film qui l’est plus encore après visionnage et entérine la pente exagérément conceptuelle empruntée par son auteur. Il y a cinq ans, Jordan Peele déboulait en trombe dans les salles. Auteur et humoriste pour la télé, il écrivait et réalisait « Get Out », bombe de thriller satirique sur le racisme post-Obama et triomphe au box-office qui lui ouvrait grand les portes de Hollywood.

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En parallèle d’une riche activité de producteur (« Candyman », la série « The Last O.G. »), il creuse aussi en tant que cinéaste un sillon où se mêlent postulats horrifico-métaphysiques à la « Quatrième Dimension », univers original truffé de références pop-culturelles et réappropriation d’une histoire afro-américaine passée sous silence. Ainsi, une des premières scènes de « Nope » rappelle le fait occulté que le premier cavalier américain apparu dans une image en mouvement, en 1878 sur une chronophotographie d’Eadweard Muybridge, était un Noir. Un cow-boy black, oui ! O.J. Haywood (Daniel Kaluuya, révélé dans « Get Out »), le protagoniste fictif de « Nope », est un de ses descendants.

LIRE AUSSI > « Get Out » : cauchemar noir dans l’Amérique de Trump

Dresseur de chevaux pour le cinéma, il tente de maintenir à flot le ranch familial perdu dans la Santa Clarita Valley, à proximité d’un parc d’attractions western tenu par un ex-enfant acteur. Fraîchement endeuillé, O.J. est rejoint par sa sœur, une actrice-chanteuse aussi délurée que lui est taiseux, et n’a qu’une idée en tête : immortaliser sur pellicule l’ovni qui a tué son père et rôde dans le ciel.

Showbiz exploiteur des minorités, white washing culturel, animaux-stars au destin tragique, menace extraterrestre : Jordan Peele multiplie les pistes. Il additionne les signes et images symboliques (quid de ce vaisseau alien dont la forme oscille entre la soucoupe volante, la méduse, le rideau de douche et le tube digestif !), jongle entre le littéral et l’allégorique et se regarde faire plus qu’il ne raconte quelque chose. Les ingrédients sont là, l’ambiance et la mise en scène aussi mais le spectacle est à la peine, émotionnellement handicapé par son ambition absconse. Œuvre à clés ou cinéma concept-store ? Novateur ou prétentieux ? Entre du Tarantino, sans l’écriture jubilatoire, et du Shyamalan, sans l’inspiration mystique, « Nope » intrigue à défaut d’emporter. Nicolas Schaller

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♥♥ Loin de chez nous

Documentaire franco-libanais, par Wissam Tanios, avec Milad Khawam, Jamil Khawam (1h22).

Dans ce documentaire sensible tourné sur cinq ans, Wissam Tanios filme le départ de ses cousins. De Syrie, où la guerre fait rage, pour Milad, trompettiste gouverné par ses émotions, en route vers l’Allemagne ; du Liban pour Jamil, plus pragmatique, en partance pour la Suède. On y verra un peu – pas si longtemps – l’attente, le passeur (qui exhibe son visage sur Facebook), la traversée d’Izmir à l’île de Kos en canot pneumatique ou le voyage à pied en Grèce et en Macédoine. Car ce qui fait le prix de « Loin de chez nous », c’est l’attention accordée à la mémoire, la menuiserie familiale de Damas, paradis perdu où ont grandi les frères, les images vidéo d’eux enfants tournées par le père, la douleur de l’exil, leur lente reconstruction. Il y a quelque chose de très émouvant à les voir chacun dans sa ville d’accueil, l’un jouant de la trompette dans un concert, l’autre travaillant, enfin, le bois : « Mon père est dans ce bois. » Sophie Grassin

♥ Dodo

Comédie de mœurs franco-belgo-grecque, par Panos H. Koutras, avec Smaragda Karydi, Akis Sakellariou, Natasa Exintaveloni (2h12).

Un couple de notables au bord de la ruine prépare le mariage de leur fille avec un riche héritier. Et c’est le branle-bas de combat dans la villa familiale : le père, ex-député, ramène une prostituée transsexuelle et la mère, ex-actrice, deux réfugiés syriens, la future épouse a le feu aux fesses, la wedding-planeuse angoisse et un dodo (oiseau mauricien dont l’espèce est éteinte depuis quatre siècles) s’invite à l’improviste. N’est pas Chabrol ou Almodóvar qui veut. Du réalisateur de « l’Attaque de la moussaka géante », on pouvait néanmoins s’attendre à moins balisé que cette sitcom satirique, bien jouée mais mollassonne, où le dodo (moche créature numérique) incarne, au choix, la peur de l’étranger ou l’incapacité de la société grecque à tirer parti de ses richesses. N. S.

♥♥ One Piece Film – Red

Film d’animation japonais, par Goro Taniguchi, avec les voix de Hiroaki Hirata, Mayumi Tanaka, Akemi Okamura (1h55).

Manga de tous les superlatifs (le plus vendu de la planète, dont 28 millions d’exemplaires en France, et record Guinness de la productivité pour son auteur, Eiichiro Oda), la franchise « One Piece » a décidé d’en mettre plein les mirettes à ses fans. Animation d’excellente facture, chansons à gogo (que des tubes en puissance), réunion de dizaines de personnages et une durée au-delà du nécessaire pour son propos. Chevelure bicolore et drôles de cornets sur les oreilles, la chanteuse Uta veut transformer le monde en une soupe sucrée et psychédélique. Percevant les faux-semblants d’une telle promesse, l’équipage de pirates mené par Luffy se mobilise. Au programme : combats déjantés à base de notes de musique et révélations en cascade. Vivifiant ! Amandine Schmitt

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Laal Singh Chaddha

Comédie dramatique indienne, par Advait Chandan, avec Aamir Khan, Kareena Kapoor, Naga Chaitanya (2h39).

Le prototype du film inutile : deux heures et demie d’un remake laborieux de « Forrest Gump » (1994), en version hindi. Gros moyens, belles images, plus de cent lieux de tournage, cinq chansons sucrées, l’histoire indienne en arrière-plan (assassinat d’Indira Gandhi, guerre avec le Pakistan), mais le sentiment de déjà-vu est omniprésent, et l’interprétation d’Aamir Khan, immense vedette en Inde, est in-sup-por-table. Maquillé comme un camion volé, plus maniéré que la Grande Eugène, l’acteur-producteur transforme chaque scène en caricature pénible. Pensum Bollywood, donc. F. F.

The event was highly anticipated. On Sunday August 7, fans of the Japanese anime “One Piece” were able to attend a preview of the release of the latest film in the “One Piece Red” saga in several cities in France. At the Pathé La Joliette cinema in Marseille, the excitement was such that some fans did not hesitate to scream, take off their t-shirts and run in front of the giant screen.

> Watch the images of the session

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A skid that has gone around the web: on Twitter the videos of the cinema session in Marseille have more than 2 million views. What anger some fans of the saga. ” It’s a shame ! » one of them gets carried away in a TikTok video. It must be said that the video has something to tarnish the image of lovers of “One Piece”… many people fear reprisals from cinemas.

“Trust me the editors and producers, when they go see this, I’m not sure they’re going to give us a chance to watch any more previews anytime soon”bitterly confides to its subscribers a fan of the saga.

What happened in Marseille does not seem to be an isolated case. On social networks, many Internet users have also reported having their sessions disrupted by raging fans. In Bordeaux, spectators disappointed by the film would have pressed the fire alarm ten minutes before the end of the projection, thus forcing the rest of the public to evacuate the room.

Six months ago, it was the hall of the Grand Rex in Paris that called certain spectators to order. A dozen of them had started dancing and screaming during a session of another Japanese animated film.

He was vehement and ironic, overexcited and poetic, believer and anar, saint and martyr. Crazy, sure. Robert Le Vigan was one of the most present second knives of the interwar period. At the cinema where he imposed himself with “Goupi Mains rouges”; at the theatre, where he was unforgettable in “Donogoo” by Jules Romains; on the radio, where he was a pathetic Balandard; in the music-hall, in various jokes; in life, where he was Celine’s apostle, with whom he made part of the trip to Sigmaringen. What he was made to pay at the Liberation. He said to him: “You are the greatest comedian of the century! Adolf is just a howling punk! » In his own way, Le Vigan was a crazy star, a patent troublemaker, a rogue of collaboration and an infernal histrion. He died over there, at the end of the earth, forgotten, mournful, kneeling before a stone Calvary that looked like him.

“You don’t have a face to bathe in honesty! »

At his beginnings, he made an exhibition of his talent in front of Louis Jouvet. Which, astonished, looked at this clown who was making pounds, rounding up the whole panoply of possible gestures and intonations, charging the mule with grimaces. At the end of the demonstration, Jouvet pushed up his glasses and said simply: “What if you farted? » In return for this, Robert Le Vigan – Robert Coquillaud of his real name – was hired. It was the beginning of a famous career (72 films!), during which our man played the roles of journalist, ch