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“Rabbi Jacob”, “Delusions of grandeur”, “the Miser”: how “the Obs” spoke of these films with Louis de Funès


Forty years ago, on January 27, 1983, Louis de Funès disappeared. On this occasion, we have gathered here three reviews of films with the actor published in “le Nouvel Obs” (which became “l’Obs” in 2014): two films by Gérard Oury, “la Folie des grandeurs” and “Les aventures of Rabbi Jacob”, and one of Jean Girault, “the Miser”. The first is praised by Claude-Michel Cluny (1930-2015), the second acclaimed by Pierre Ajame (1939-1988) and the third obviously rather little tasted by Guy Dumur (1921-1991).

Louis de Funès, the actor with 1,000 facial expressions

La Madness of Grandeur by Gérard Oury

“Le Nouvel Observateur” n° 371, Monday, December 20, 1971

Take Golden Age Spain: strawberries, rapiers, dwarfs and dogs, etc. Add de Funès stealing as a minister the money of the poor (and that of the king). Give him a thinking valet (Montand). Take the plot from Hugo, have it written by Feydeau and throw in the middle of all this hilarious stew a fiery duenna: Alice Sapritch. Oury had a lucky hand this time: Spain is beautiful, de Funès looks like Georges Pompidou, and the frenzied duenna trussing herself up makes the halls jump! A good start

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Quel est le meilleur de tous les « Astérix et Obélix » ? On a classé les 15 films adaptés des aventures des deux Gaulois



« Astérix et Obélix. L’Empire du Milieu » est le dernier opus d’une longue série d’adaptations des aventures des deux célèbres Gaulois à l’écran. En film d’animation ou avec de véritables acteurs, ce ne sont pas moins de quinze histoires d’Astérix et Obélix qui ont été portées à l’écran depuis 1967. Bien loin malgré tout des 39 albums qui composent la saga qui court depuis 1961.

A l’occasion de la sortie du film réalisé par Guillaume Canet, dans lequel ce dernier incarne Astérix aux côtés de Gilles Lellouche qui interprète Obélix, nous avons voulu établir le classement de ces quinze films, de natures et d’époques différentes, du moins au plus réussi. Un comparatif hautement subjectif et qui ne plaira certainement pas à tout le monde. Mais c’est le jeu, par Toutatis !

La suite après la publicité

15. Astérix aux jeux Olympiques

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Comédie française de Frédéric Forestier et Thomas Langmann (2008). Avec Clovis Cornillac, Gérard Depardieu, Benoît Poelvoorde, Alain Delon (1h55)

Nos deux Gaulois se rendent en Grèce pour une olympiade dans laquelle ils affronteront Brutus. Des cinq films tournés en prise de vues réelles, c’est résolument le moins abouti. Le casting était pourtant de taille.

14. Astérix et les Vikings

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Film d’animation de Stefan Fjeldmark et Jesper Møller (2006, 1h20)

Ce film d’animation, adapté de l’album « Astérix et les Normands », met en scène le personnage de Goudurix, le neveu du chef du village, qui est enlevé par les Vikings.

La suite après la publicité

13. Astérix et le Coup du menhir

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Film d’animation de Philippe Grimond (1989, 1h20)

Panoramix est percuté par un menhir et rien ne va plus dans le village gaulois. Ce dessin animé est l’adaptation mêlée de deux albums, « le Combat des chefs » et « le Devin ».

12. Astérix et la Surprise de César

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Film d’animation de Gaëtan et Paul Brizzi (1985, 1h20)

A nouveau un mélange de deux albums, en l’occurrence « Astérix gladiateur » et « Astérix légionnaire ». La belle Falbala est enlevée avec son fiancé Tragicomix. Astérix et Obélix se lancent à leur recherche. Toujours avec les voix des inénarrables Roger Carel et Pierre Tornade.

La suite après la publicité

11. Astérix et les Indiens

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Film d’animation de Gerhard Hahn (1995, 1h25)

Astérix et Obélix quittent la Gaule pour se lancer à la recherche de Panoramix, enlevé par les Romains. Direction l’Amérique où ils vont découvrir une nouvelle tribu : les Indiens.

10. Astérix et Obélix contre César

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Comédie française de Claude Zidi (1999). Avec Christian Clavier, Gérard Depardieu, Laetitia Casta, Roberto Benigni (1h50)

C’est la première fois qu’Astérix et Obélix sont incarnés par de véritables acteurs. Avec un Gérard Depardieu et un Christian Clavier plus vrais que nature. Ce n’est pas le plus abouti, mais quel bonheur de voir les célèbres Gaulois en chair et en os.

La suite après la publicité

9. Astérix le Gaulois

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Film d’animation par Ray Goossens (1967, 1h10)

L’adaptation en dessin animé du premier album d’Astérix datant de 1961. On découvre pour la première fois à l’écran les aventures de ce village gaulois et de sa fabuleuse potion magique.

8. Astérix et Obélix. Au service de Sa Majesté

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Comédie française de Laurent Tirard (2012). Avec Edouard Baer, Gérard Depardieu, Guillaume Gallienne (1h50)

Quatrième film des deux aventuriers gaulois. Cette fois-ci, c’est Edouard Baer qui enfile le costume d’Astérix tandis que Gérard Depardieu apparaît pour la dernière fois sous les traits d’Obélix. Le film est l’adaptation plutôt plaisante des albums « Astérix chez les Bretons » et « Astérix et les Normands ».

La suite après la publicité

7. Astérix chez les Bretons

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Film d’animation de Pino van Lamsweerde (1986, 1h20)

Une adaptation fidèle du huitième album, éponyme, d’Astérix. Un tonneau de potion magique destiné aux cousins bretons tombe entre les mains des Romains. Il est urgent pour les deux Gaulois de le récupérer.

6. Astérix. Le Secret de la potion magique

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Film d’animation d’Alexandre Astier et Louis Clichy (2018, 1h25)

Ce film est la deuxième collaboration fructueuse entre Alexandre Astier et Louis Clichy. Avec en revanche un absent de marque, Roger Carel, LA voix historique d’Astérix. Et c’est Christian Clavier qui prend la suite dans ce long-métrage d’animation très réussi.

La suite après la publicité

5. Astérix et Obélix. L’Empire du Milieu

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Comédie française de Guillaume Canet (2023). Avec Gilles Lellouche, Guillaume Canet, Jonathan Cohen, Marion Cotillard, Julie Chen, Vincent Cassel (1h50)

Guillaume Canet reprend le flambeau de la réalisation et incarne lui-même Astérix dans un nouvel opus à très grand spectacle. Servi par une magnifique distribution, ce cinquième film tourné avec des acteurs reprend l’esprit drôle et enlevé des deux héros gaulois. Avec un Gilles Lellouche excellent dans le rôle d’Obélix. Les deux inséparables compères se rendent en Chine pour porter secours à l’impératrice, emprisonnée par son rival Deng Tsin Qin

Astérix et Obélix : on a parlé de moustache, de viande et d’amour avec Guillaume Canet et Gilles Lellouche

4. Astérix et Cléopâtre

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Film d’animation de René Goscinny et Albert Uderzo (1968, 1h10)

Fidèlement adapté du sixième album de la BD, et pour cause, il est réalisé par René Goscinny et Albert Uderzo eux-mêmes. Ce film d’animation comporte son lot de scènes cultes, du bain de Cléopâtre à la recette du pudding à l’arsenic.

La suite après la publicité

3. Astérix. Le Domaine des dieux

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Film d’animation d’Alexandre Astier et Louis Clichy (2014, 1h25)

C’est le premier film d’animation signé Alexandre Astier et Louis Clichy. Vive, drôle, esthétique, cette adaptation de l’album éponyme est une grande réussite. Alexandre Astier, qu’on connaissait pour sa série « Kaamelott », ajoutait alors avec brio une nouvelle corde à son arc. Cerise sur le sanglier, un casting de voix de première classe : Alain Chabat, Laurent Lafitte, Roger Carel, Florence Foresti, François Morel…

2. Les Douze Travaux d’Astérix

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Film d’animation de René Goscinny et Albert Uderzo (1976, 1h20)

Si vous demandez à quelqu’un de citer un dessin animé avec Astérix, il y a fort à parier que ce soit celui-ci qui sorte du chapeau. Réalisé par Goscinny et Uderzo, « les Douze Travaux d’Astérix » a pour particularité d’être une création originale mise à l’écran, adaptée de l’histoire mythologique des travaux d’Hercule. Astérix et Obélix vont se soumettre à une série de défis que seuls des dieux pourraient réussir, dixit César lui-même. Les deux Gaulois vont donc tour à tour effectuer des épreuves de course à pied, de lancer de javelot, de judo, de dégustation, etc. Un festival !

La suite après la publicité

1. Astérix et Obélix. Mission Cléopâtre

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Comédie française d’Alain Chabat (2002). Avec Christian Clavier, Gérard Depardieu, Jamel Debbouze, Edouard Baer, Monica Bellucci (1h45)

Quand l’adaptation se hisse au niveau du chef-d’œuvre ! Le génial Alain Chabat s’empare de l’album « Astérix et Cléopâtre », l’adapte de manière extrêmement fidèle (on retrouve des plans quasi identiques aux cases de la BD) tout en y ajoutant sa touche comique irrésistible. C’est donc une débauche de répliques cultes (« Hue Cannabis ! » ; « C’est trop calme, j’aime pas trop beaucoup ça… » ; le monologue d’Otis en intégralité…). Toute la saveur d’Astérix est dans ce film qui traverse déjà les générations.



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Asterix and Obelix: we talked about mustache, meat and love with Guillaume Canet and Gilles Lellouche



“To play Obelix, you have to have daisies in your eyes. » This is the only sentence that Gilles Lellouche heard from Gérard Depardieu as a transmission when he called the giant of French cinema. But did we really need to say more? In any case, it seems that the advice has borne fruit as Gilles Lellouche in turn seizes the character of menhir delivery man alongside Guillaume Canet who plays an Asterix full of existential questions (“Do we have enough perspective on the magic potion? »)

On the occasion of the release of “Asterix & Obelix. The Middle Kingdom”, in theaters Wednesday 1er February, we submitted the actor duo to a questionnaire that couldn’t be more Gallic. Who wears the best mustache? Who can’t do without meat? Who is the most blue flower? And, finally, who is the more Gallic of the two actors? Guillaume Canet and Gilles Lellouche, accomplices in the city as on screen, share impressions and anecdotes of filming after having taken on these roles not quite like the others.

“Asterix & Obelix. The middle Empire “directed by Guillaume Canet, in theaters February 1 (1h51).



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Sexism in Hollywood: Sharon Stone does not save many people except Robert de Niro and Joe Pesci



“Total recall”, “Basic instinct”, “Casino”… These are some of the films in which the immense Sharon Stone played. But even after thirty years of career and a fame that is well established, when you find yourself faced with misogyny, you can be helpless, explained the 64-year-old actress to the magazine “Variety”, on January 25. :

“I’ve worked with some of the biggest stars in the industry, who would literally talk during my close-up, telling me what they thought I should do. They’re so misogynistic — it’s not Robert De Niro, it’s not Joe Pesci, it’s not those guys. But I’ve worked with some really big stars who […] just didn’t listen to me, and didn’t allow me to influence their performance with my performance. »

A listening problem

Sharon Stone therefore teaches us that only some of her fellow actors were beyond reproach. Robert de Niro and Joe Pesci therefore, the two cult actors of “Casino”, but also the actor George C. Scott, whose contact opened his eyes:

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“I had the great honor of working with George C. Scott. And he said, “I want to give you the biggest compliment I can give, honey,” he put his hands on my face and continued, “You’re the most attentive person I’ve ever been with. never worked, apart from my wife”. And I cried. »

It was after this interaction with the “Patton” actor that she realized that if she listened, most of the actors she worked with didn’t. And this is how Sharon Stone finds herself denouncing the latent misogyny that hovers in the film industry and the sexist situations in which she has found herself. The Hollywood actress therefore deplores a lack of listening in the middle, particularly on the part of men towards women. And she ends up explaining in this same interview that if she is not very popular in the industry, it is surely because of this kind of position:

“I’m not the most popular actress because people don’t want to hear my, as they say, ‘fucking opinions’… maybe because of my dedication, maybe because I’m just a bit weird. »

Weird, we don’t know, but courageous, yes, because it takes bravery to denounce an unhealthy patriarchal system, and it took Sharon Stone to set an example.



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“The real family of Louis de Funès is that of the cartoon”: “the Obs” in 1983 on the death of the actor


On the occasion of the 40e anniversary of the death of Louis de Funès, this “national treasure” to which the Cinémathèque paid tribute in 2020, we are republishing the article dedicated to him by Pierre Ajame (1939-1988), writer and journalist, in “le Nouvel Obs” (which became “l’Obs” in 2014).

Louis de Funès, the actor with 1,000 facial expressions

Article published in “Le Nouvel Observateur” n° 952, Friday February 4, 1983.

De Funès: the greatness of follies

by Pierre Ajame

He was smart, cultured, charming. He was cowardly, obsequious, mean. I knew him a little, enough to testify that he loved Bach and Romanesque churches: during walks in the Ariège countryside, he photographed capitals and hummed the “Goldbergs”; he had an eye and an ear.

One hundred million spectators (the figure has been verified) frequented another Louis de Funès who was to the first what Mr. Hyde was to Doctor Jekyll: a monstrous understudy with a rubbery face, ignorant of articulate language, who bowed before the powerful and slapped everyone else. He had put his keen intelligence into composing an odious character who avenged us on ourselves by exhibiting so many basenesses kept secret, by freeing our little repressed ignominies through laughter. He was the chief catalyst and now that he’s gone, up there in the hangers, we already miss this representative of a species with him extinct, roughly located between Homo sapiens and the horse beetle.

His latest threads

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Why Louis de Funès is a breathtaking conductor in “la Grande Vadrouille”


Do you know Robert Benedetti? This violinist and conductor specializing in operetta, who in 1966 was part of the Orchester de l’Opéra de Paris, played a valuable role in the career of Louis de Funès. He was indeed his coach for the cult scene of “La Grande Vadrouille”, where we see maestro Stanislas Lefort conducting the Overture to “La Damnation de Faust” by Berlioz in the pit of the Opera. Fosse which, according to the internal regulations of the august lyrical institution, was forbidden to anyone foreign to the orchestra.

The funniest thing, however, is that not a single one of the people making up the ensemble led by Stanislas Lefort, alias Louis de Funès, was part of the orchestra of the Paris Opera, the filming of the scene having taken place in July 1966, vacation month for musicians. It was Jacques Metehen, the orchestrator of the film’s musical themes, composed by Georges Auric, who had the task of recruiting musicians from right and left, conservatory teachers, senior students and other members of the Orchester de la Republican Guard.

Louis de Funès did not reach the podium of the fos

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Louis de Funès, the actor with 1,000 facial expressions



This is the first thing that comes to mind when we hear the name of Louis de Funès: his face distorted by one of those famous facial expressions accompanied by a noise of which he alone had the secret. A trademark for an actor who became a true legend from the early 1960s. A legend that still endures as Louis de Funès’ films cross generations. Evidenced by the audience scores at each replay.

Benoît Poelvoorde: “In pure comedy, Louis de Funès is my greatest influence”

The actor, world-famous for “La Grande Vadrouille”, “Fantômas” or “Le Gendarme de Saint-Tropez” nevertheless enjoyed success late in life. After years of skimming the piano bars and chaining small roles to earn a living, his career will accelerate in the second half of the 1950s, in particular thanks to his roles in “La Traversée de Paris” by Claude Autant-Lara (1956) and in Yves Robert’s “Neither seen nor known” (1957). But it is really his roles in “Oscar” at the theater then in “Pouic-Pouic” by Jean Girault (1963) that will put his name at the top of the bill. A success that will then never be denied, until his death on January 27, 1983, at the age of 68. Louis de Funès, by his full name Louis de Funès de Galarza, has appeared in nearly one hundred and fifty films. Everyone has their favorite! But what brings them all together is undoubtedly the actor’s facial expressions and grimaces, which all seem to be unique. Here are forty mythical ones to (re-)discover in our montage.

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Movies in order of appearance:

  1. “Madness of grandeur”, directed by Gérard Oury, 1971
  2. “Oscar”, directed by Edouard Molinaro, 1967
  3. “The Adventures of Rabbi Jacob”, directed by Gérard Oury, 1973
  4. “Madness of grandeur”, directed by Gérard Oury, 1971
  5. “On a perched tree”, directed by Serge Korber, 1971
  6. “The Miser”, directed by Louis de Funès and Jean Girault, 1980
  7. “Cabbage Soup”, directed by Jean Girault, 1981
  8. “The Adventures of Rabbi Jacob”, directed by Gérard Oury, 1973
  9. “The Gendarme on a walk”, directed by Jean Girault, 1970
  10. “Neither seen nor known”, directed by Yves Robert, 1958
  11. “Oscar”, directed by Edouard Molinaro, 1967
  12. “Le Grand Restaurant”, directed by Jacques Besnard, 1966
  13. “The Man Orchestra”, directed by Serge Korber, 1970
  14. “The Adventures of Rabbi Jacob”, directed by Gérard Oury, 1973
  15. “The Miser”, directed by Louis de Funès and Jean Girault, 1980
  16. “The Little Bather”, directed by Robert Dhéry, 1968
  17. “Cabbage Soup”, directed by Jean Girault, 1981
  18. “The Adventures of Rabbi Jacob”, directed by Gérard Oury, 1973
  19. “The Wing or the Thigh”, directed by Claude Zidi, 1976
  20. “The Gendarme in New York”, directed by Jean Girault, 1965
  21. “Neither seen nor known”, directed by Yves Robert, 1958
  22. “Summer Vacations”, directed by Jean Girault, 1970
  23. “The Adventures of Rabbi Jacob”, directed by Gérard Oury, 1973
  24. “The Tattooed”, directed by Denys de La Patellière, 1968
  25. “Oscar”, directed by Edouard Molinaro, 1967
  26. “La Grande Vadrouille”, directed by Gérard Oury, 1966
  27. “Hibernatus”, directed by Edouard Molinaro, 1969
  28. “The Gendarme of Saint-Tropez”, directed by Jean Girault, 1964
  29. “The Little Bather”, directed by Robert Dhéry, 1968
  30. “The Man Orchestra”, directed by Serge Korber, 1970
  31. “La Grande Vadrouille”, directed by Gérard Oury, 1966
  32. “The Gendarme on a walk”, directed by Jean Girault, 1970
  33. “Hibernatus”, directed by Edouard Molinaro, 1969
  34. “Fantômas”, directed by André Hunebelle, 1964
  35. “Oscar”, directed by Edouard Molinaro, 1967
  36. “The Little Bather”, directed by Robert Dhéry, 1968
  37. “The Miser”, directed by Louis de Funès and Jean Girault, 1980
  38. “Le Corniaud”, directed by Gérard Oury, 1965
  39. “Fantômas against Scotland Yard”, directed by André Hunebelle, 1970
  40. “The Wing or the Thigh”, directed by Claude Zidi, 1976



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Oscars 2023: 5 things to know about Brendan Fraser, back after a long desert crossing at the cinema



It’s one of his big comeback stories that Hollwood has the secret to. Brendan Fraser was nominated for an Oscar on Tuesday in the category of best actor for his film “The Whale”. A first nomination for the American-Canadian actor, and a plebiscite that sounds like a snub to the world of cinema, as he emerges from a long crossing of the desert marked by sexual assault and health problems.

Iconic potential

Born in 1968 in Indianapolis in the Midwest in the United States, Brendan Fraser landed his first leading role in the cinema in 1992 in the comedy “Encino Man”, before getting noticed the same year in “School Ties”, alongside Ben Affleck and Matt Damon, also new to Hollywood.

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His first major box office success came as a goofy, clumsy Tarzan in 1997’s ‘George of the Jungle’, before proving his dramatic potential a year later in ‘No Gods. nor demons.

The young actor became a familiar face in American cinema, notably by playing the adventurer Rick O’Connell in the saga “The Mummy” which propelled him to the rank of star in Hollywood from the release of the first opus in 1999, which brought in more than $400 million at the worldwide box office. Brendan Fraser will reprise his role for two sequels in 2001 and then in 2008.

A prolific career then seemed to be taking shape for the actor, who claims to have even auditioned for the role of Superman in a film project written by JJ Abrams – finally abandoned in 2002. But the years that follow will prove particularly difficult for Brendan Fraser .

The body broken by the waterfalls

Behind the scenes, the actor suffered several personal dramas. His health, in the first place, suffers from his repetitive action roles, for which he often performs his own stunts. “When I shot the third “The Mummy” in China [en 2008]my body was only holding together with scotch and ice cream”he told the magazine “GQ” in 2018.

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His body lets go, he is forced to stop the sport. He explains that he underwent several operations on the spine and knees, even on the vocal cords. In all, he claims to have made regular trips to the hospital for seven years.

At the same time, he is going through a difficult divorce after nine years of marriage, the films in which he appears make him less and less proud. Slowly, Brendan Fraser moved away from the Hollywood spotlight in the late 2010s, and confined himself to much more confidential roles, especially on television.

A sexual assault

In 2018, in the wake of the #MeToo movement, Brendan Fraser reveals in an interview with “GQ” a painful episode in his life – which he suspects has slowed down his career. He claims to have been sexually assaulted in 2003 by Philip Berk, former president of the Hollywood Foreign Press Association (HFPA), the organization behind the Golden Globes. This one would have caressed her buttocks in a hotel, in front of witnesses.

“I felt sick. Like a little child. I felt like there was a lump in my throat. I thought I was going to cry”he confided.

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Philip Berk, he disputes any aggression, and prefers to speak of a “joke”. He later claimed to have written a letter to Brendan Fraser about this incident, but in which he does not acknowledge ” No mistake “.

The aggression, however, plunges the actor into a depression, aggravated by his professional disappointments, he explains, and he withdraws into himself. This experience clashed with his perception of “who he was, what he did”. He says he wondered if the HFPA subsequently blacklisted him. With hindsight, he believes that this event partly slowed down his career. “The phone stops ringing, and you wonder why. There are many reasons for this but was this one of them? I think so “, he slipped to “GQ”.

The “Brenaissance”

After a remarkable appearance in the series “The Affair” in 2016, it is from 2018 that begins what his fans have nicknamed on social networks a “Brenaissance”. The actor appears in the third season of the series “Trust” under the direction of Danny Boyle, then lends his voice to Robotman in the series of the universe of DC Comics “Titans”, a role which he will resume later in the “Doom Patrol” series for HBO.

On TikTok and Twitter, his fans multiply the montages rejoicing in the return of the actor. Above all, they anticipate another appearance of Brendan Fraser in the DC universe: he plays the villain Firefly in the film “Batgirl”. Las: while the film is fully shot and the first images have already delighted fans, the Warner Bros studio decides not to release it in theaters or on its streaming platforms, for financial reasons. “Tragic”laments Brendan Fraser

“The Whale”, the consecration

Director Daren Aronofsky (“Black Swan,” “Mother!”) says filming of “the Whale” was blocked for ten years by the casting of Charlie, its main character, an obese English teacher living in his home. and attempting to reconnect with her daughter before she died. Until a trial with Brendan Fraser revealed the obvious. “He was phenomenal”he confided to Canadian radio.

The director was right: when the film was presented at the Venice Film Festival in September, Brendan Fraser received a six-minute standing ovation. It is the long-awaited consecration for the one who has come back from afar. Images of the actor’s tears in the face of applause are making the rounds on social media.

The actor is nominated in the category of best actor in multiple ceremonies. Even before his name is mentioned in the nominations of the Golden Blobes, he warns however: whatever happens, he will not go there.

“Because of my history with them. And because my mother didn’t raise a hypocrite. »

Never mind: Tuesday, the Academy of Oscars announced his nomination for the prize for best actor in a leading role. If the ceremony will not be held before March, the “Brenaissance” is far from over: the casting of another enticing project, “Killers of the Flower Moon”, by Martin Scorsese with Leonardo has already been announced. Di Caprio.



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“At the forefront of male interpersonality”: at the César 2023, where did the directors go?



Women are conspicuous by their absence in the race for the most famous prizes in this 2023 edition of the Césars. In one of the queen categories of the competition, that of the best achievement, only men were nominated: Cédric Klapisch for “En corps”, Louis Garrel for “l’Innocent”, Cédric Jimenez for “November”, Dominik Moll for “Night of the 12th” and Albert Serra for “Paiction – Torment on the Islands”.

Rebecca Zlotowski for “other people’s children”, Alice Winocour for “Revoir Paris”, Alice Diop for “Saint Omer”, Lise Akoka and Romane Gueret for “les Pires”, Valéria Bruni Tedeschi for “les Amandiers”, Charlotte Le Bon for her very successful first film “Falcon Lake”… It’s hard not to think of the many female directors who distinguished themselves in cinemas last year.

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Is French cinema as dead as they say?

“It’s amazing, they really had their place”rose this Wednesday, January 25 on Franceinfo the producer Anne-Dominique Toussaint, about Rebecca Zlotowski and Alice Winocour.

“They made some wonderful films this year, which were hugely popular, got admissions and had great press. »

“French cinema likes to give lessons”

” Always stronger. The Césars, still at the forefront of the male interpersonality of cinema », Paris councilor and feminist activist Alice Coffin protested on Twitter. For the author of “Lesbian genius”, there was however ” spoiled for choice “ to reward female directors. “Support and thanks to them for their films”she concludes.

“French cinema likes to give lessons, but when it votes, it forgets the phenomenon of the year: renewal by women”also reacted the director and producer Bertrand Tessier.

For her part, Claire Diao, journalist responsible for a program of short films and director of a distribution company, regrets the absence of director Alice Diop in the star category. “However, a filmmaker who made a grand slam that none succeeded in the same year, from Venice to the Jean-Vigo, Louis-Delluc prizes, the Oscars… Long live parity in cinema. »

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For this 48e edition, Alice Diop must therefore be content with being nominated for the César for best first film or best original screenplay, when she has already signed a feature film, the documentary “We”, in 2021. Valeria Bruni-Tedeschi, whose release of her film “les Amandiers” was accompanied by revelations about the indictments for rape of its main actor Sofiane Bennacer, is competing for the César for best film.

Since the first ceremony in 1976, women have only gleaned a large quarter of the statuettes (27.4%), according to an AFP database dating from 2020. The proportion of winners even drops by 10 points, to 17.9%, in the categories putting men and women in competition. And in the entire history of the Césars, only one woman has won the statuette for best achievement: it is Tonie Marshall for “Vénus Beauté (Institut)”, in 2001.



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César 2023: “The Innocent”, “The Night of 12”, “En corps” at the top of the nominations



With eleven nominations on the counter announced on Wednesday January 25, including that of the best film, the feature film by Louis Garrel takes the lead in the race for statuettes. The only comedy nominated in the queen category of the competition, it is closely followed by “La Nuit du 12” by Dominik Moll (ten nominations), “En corps” by Cédric Klapisch (nine nominations) and “Paiction – Tourment sur les islands” by Albert Serra (nine nominations).

Is French cinema as dead as they say?

Louis Garrel on all fronts

With 690,000 admissions, Louis Garrel’s film was a great success despite the crisis in cinemas. A funny and touching popular comedy, “The Innocent” tells the story of Abel (Louis Garrel) who learns that his mother (Anouk Grinberg) is about to marry a man in prison (Roschdy Zem). Accompanied by his best friend (Noémie Merlant), the young man will do everything to prevent this union. Five-star cast and colorful dialogues, Louis Garrel’s first comedy is intended for all audiences, he explained to “l’Obs”, last October:

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“With “L’Innocent”, I hope to open up to the general public. I said to the team “let’s make a variety film”. Variety of registers: boulevard comedy, film spinning, robbery, etc. I was reading Frank Capra’s autobiography (“Hollywood Story”), he was inhabited by the idea of ​​“putting on a show”. There is that in “l’Innocent”, a desire for everyone to show off, to be entertaining. It’s a narrator’s cinema, not poetry. And if there is poetry, so much the better. »Louis Garrel: “I would have less pleasure playing a 40-year-old Parisian than Edouard Balladur”

To win the prestigious statuette for best achievement, Louis Garrel will compete alongside “Les Amandiers” by Valeria Bruni-Tedeschi, “En corps” by Cédric Klapisch, “La Nuit du 12” by Dominik Moll and “Paiction – Tourment sur les islands” by Albert Serra.

In the running as a director but also as an actor, he was nominated for the César for best actor against Jean Dujardin (“November”), Vincent Macaigne (“Chronicle of a passing affair”), Benoît Magimel (“Paiction – Torment on the islands”) and Denis Ménochet (“Peter Von Kant”).

Benoît Magimel: “A career as an actor is like a long-distance race. The road is long, but it is beautiful”

Appointments not really surprising

No real surprises in these 2023 nominations. In the running for the César for best actress, we find big names in French cinema, such as Virginie Efira for “Revoir Paris”, Fanny Ardant for “Les Jeunes amants”, Juliette Binoche for ” Ouistreham”, Laure Calamy for “Full time” and Adèle Exarchopoulos for “Nothing to fuck”. Not surprising, either, the lack of ethnic diversity among the nominees.

Feminism, desire, motherhood… A subtle dialogue between Virginie Efira and Rebecca Zlotowski

On the other hand, we are surprised to see in the categories of the best female and male supporting roles of the actresses and actors of the same film to compete. Among the women, Anaïs Demoustier and Lyna Khoudri are both nominated for “November”, as well as Anouk Grinberg and Noémie Merlant for “The Innocent”, facing the lonely Judith Chelma for “The Sixth Child”. On the men’s side, François Civil and Pio Marmaï, both nominated for “En corps” compete against Bouli Lanners for “La Nuit du 12”, Micha Lescot for “Les Amandiers” and Roschdy Zem for “L’ Innocent “.