French actress Christine Boisson, who got her big-screen break as a 17-year-old in Emmanuelle, has died at the age of 68 in Paris.
Boisson had just left school and was still a minor when Just Jaeckin cast her in his 1974 erotic classic as the sexually adventurous teenager Marie-Ange, who introduces Emmanuelle (Sylvia Kristel) to the shady libertine figure of Mario.
After being cast in a handful of smaller roles purely on the basis of her physique, Boisson decided to go back to school and studied acting at France’s prestigious Conservatoire.
On completing the three-year course, she refused to take on roles where the principal consideration for the casting was her physique.
Deadline Related Video:
Over the course of her 40-year career, Boisson ratcheted up more than 50 film credits including Michelangelo Antonioni’s Identification of a Woman (1984), Daniel Schmid’s Jenatsch (1987), Jacques Bral’s Exterior, Night, Yves Boisset’s Radio Rave...
Boisson had just left school and was still a minor when Just Jaeckin cast her in his 1974 erotic classic as the sexually adventurous teenager Marie-Ange, who introduces Emmanuelle (Sylvia Kristel) to the shady libertine figure of Mario.
After being cast in a handful of smaller roles purely on the basis of her physique, Boisson decided to go back to school and studied acting at France’s prestigious Conservatoire.
On completing the three-year course, she refused to take on roles where the principal consideration for the casting was her physique.
Deadline Related Video:
Over the course of her 40-year career, Boisson ratcheted up more than 50 film credits including Michelangelo Antonioni’s Identification of a Woman (1984), Daniel Schmid’s Jenatsch (1987), Jacques Bral’s Exterior, Night, Yves Boisset’s Radio Rave...
- 10/21/2024
- by Melanie Goodfellow
- Deadline Film + TV
Robin Williams and director Peter Kassovitz at the 25th Deauville Film Festival in 1999 to present Jacob The Liar
The Deauville American Film Festival will pay special homage to Robin Williams, who was a visitor to the event over the years.
Williams' visits to the Normandy festival n 1988 for the premiere of Good Morning Vietnam and in 1999 for Jacob The Liar were "unforgettable," said the organisers.
Bruno Barde, the event's director, said he had "lost an old friend" with the actor's suicide.
The precise nature of the tribute to Williams will be detailed on 20 August when the Festival's final line-up is unveiled. The organisers had in fact invited him for the coming edition but had not received a response.
The Festival already has announced career tributes to Will Ferrell and Jessica Chastain.
The 40th anniversary edition of the Deauville festival runs from 5 to 14 September....
The Deauville American Film Festival will pay special homage to Robin Williams, who was a visitor to the event over the years.
Williams' visits to the Normandy festival n 1988 for the premiere of Good Morning Vietnam and in 1999 for Jacob The Liar were "unforgettable," said the organisers.
Bruno Barde, the event's director, said he had "lost an old friend" with the actor's suicide.
The precise nature of the tribute to Williams will be detailed on 20 August when the Festival's final line-up is unveiled. The organisers had in fact invited him for the coming edition but had not received a response.
The Festival already has announced career tributes to Will Ferrell and Jessica Chastain.
The 40th anniversary edition of the Deauville festival runs from 5 to 14 September....
- 8/13/2014
- by Richard Mowe
- eyeforfilm.co.uk
Agnieszka Holland's film uses a fragment of the Holocaust story to hint at its enormity
Claude Lanzmann's famous proscription against ever tackling the Holocaust in a purely representational way – because how can one honestly, decently recreate the almost unimaginable without cheapening or faking it? – still casts a shadow over the whole genre three decades after the release of his documentary Shoah. I wish more people would listen to him. His polar opposite is Steven Spielberg, and Schindler's List neatly embodies all Lanzmann's doubts. The documentary favours long takes, no heroes, and no war-crime footage whatsoever. The feature shows it all: random executions, gas chambers, the anguish of the doomed, but undercuts it all with a Spielbergian hunger for uplift and good guys.
The Holocaust movie has taken some odd turns in the years since Shoah and Schindler established these parameters. We were favoured with those "Have Yourself a...
Claude Lanzmann's famous proscription against ever tackling the Holocaust in a purely representational way – because how can one honestly, decently recreate the almost unimaginable without cheapening or faking it? – still casts a shadow over the whole genre three decades after the release of his documentary Shoah. I wish more people would listen to him. His polar opposite is Steven Spielberg, and Schindler's List neatly embodies all Lanzmann's doubts. The documentary favours long takes, no heroes, and no war-crime footage whatsoever. The feature shows it all: random executions, gas chambers, the anguish of the doomed, but undercuts it all with a Spielbergian hunger for uplift and good guys.
The Holocaust movie has taken some odd turns in the years since Shoah and Schindler established these parameters. We were favoured with those "Have Yourself a...
- 3/12/2012
- by John Patterson
- The Guardian - Film News
Film review: 'Jakob the Liar'
Finding stirring mainstream movie material in the horrors of the Holocaust, Sony's "Jakob the Liar" has a more involving and believable story than its much-heralded doppelganger -- Roberto Benigni's "Life Is Beautiful" -- and it's a pity that director Peter Kassovitz's fine film seems fated to be lost in the thicket of serious, literary movies facing audiences this fall.
Premiering out of competition in the Deauville Festival of American Cinema, the drama-with-comedy "Jakob" has one not-so-secret ingredient that may draw audiences when it opens Stateside on Sept. 24: star Robin Williams in his best film since "Good Will Hunting", playing a role that's nothing like his larger-than-life clowning in last year's hit "Patch Adams" (which he filmed after "Jakob"'s fall 1997 shoot in Poland and Hungary).
Based on the German novel by Lodz Ghetto survivor Jurek Becker (first published in the United States three years ago), "Jakob" was filmed successfully in 1974 by East German filmmaker Frank Beyer. (That film won the Silver Bear at the Berlin Film Festival and was nominated for the foreign-language Oscar in 1976 but lost to "Black and White in Color".)
Kassovitz, who experienced the war as a child in his native Hungary and moved to Paris during the 1956 revolution, is not well known outside France, where's he's been directing and writing for 40 years, mostly in television. "Jakob" is a tricky but successful marriage of a good story -- adapted by Kassovitz and French screenwriter-novelist Didier Decoin (recent miniseries "The Count of Monte Cristo" and the original book "The Chambermaid on the Titanic") -- with a filmmaking team committed to showing the harsh milieu with few concerns about commerciality.
The result is far more inspiring, entertaining and worth experiencing than you might expect. Set not in a concentration camp but in Lodz, Poland, in the winter of 1944, "Jakob" is the tale of a futureless man, a cafe owner isolated with his fellow Jews by the Germans in the guarded ghetto. One evening before curfew, Jakob (Williams) chases after a newspaper carried by a breeze and is harassed by a guard.
Ordered to report for punishment for doing nothing wrong, inside a Germans-only building with a banished radio, widower Jakob overhears news that the Russians are advancing against the Nazis. Everything changes for him when he's miraculously spared by the seemingly distracted occupiers and returns home bursting to tell someone the first encouraging information about the outside world they've heard in a long time.
But now he's in serious danger knowing something he should not, which is why he only reluctantly tells others. To stop headstrong Mischa (Liev Schrieber) from a suicidal gesture, Jakob tells him the news. A few scenes later, Jakob's forced to swear he's telling the truth to stop defeated Kowalsky (Bob Balaban) from hanging himself. Keeping secrets is impossible for these two reborn rascals, and the story gets out that Jakob has a radio hidden away.
In short order, Jakob becomes an underground celebrity. He secretly takes another huge risk by hiding an orphan girl (Hannah Taylor Gordon) who escapes from a train bound for the death camps. Denying that he has a radio does no good, and Jakob realizes he is helping his fellow victims. He starts to play the role of a reluctant -- not necessarily genuine -- prophet, but there's not a happy end to his story.
Alan Arkin, Armin Mueller-Stahl, Mathieu Kassovitz, Michael Jeter and Nina Siemaszko fill out the excellent cast. The sets, cinematography, makeup, costumes and Edward Shearmur's score are more than adequate at transporting one into the film's grim environment.
JAKOB THE LIAR
Sony Pictures Entertainment
Columbia Pictures
Blue Wolf Prods. with Kasso Inc.
Director: Peter Kassovitz
Screenwriters: Peter Kassovitz & Didier Decoin
Based on the book by: Jurek Becker
Producers: Marsha Garces Williams, Steven Haft
Executive producer: Robin Williams
Director of photography: Elemer Ragalyi
Production designer: Luciana Arrighi
Editor: Claire Simpson
Costume designer: Wieslawa Starska
Music: Edward Shearmur
Casting: Billy Hopkins, Suzanne Smith, Kerry Barden
Color/stereo
Cast:
Jakob: Robin Williams
Mischa: Liev Schreiber
Kowalsky: Bob Balaban
Frankfurter: Alan Arkin
Lina: Hannah Taylor Gordon
Kirschbaum: Armin Mueller-Stahl
Rosa: Nina Siemaszko
Avron: Michael Jeter
Herschel: Mathieu Kassovitz
Running time -- 120 minutes
MPAA rating: PG-13...
Premiering out of competition in the Deauville Festival of American Cinema, the drama-with-comedy "Jakob" has one not-so-secret ingredient that may draw audiences when it opens Stateside on Sept. 24: star Robin Williams in his best film since "Good Will Hunting", playing a role that's nothing like his larger-than-life clowning in last year's hit "Patch Adams" (which he filmed after "Jakob"'s fall 1997 shoot in Poland and Hungary).
Based on the German novel by Lodz Ghetto survivor Jurek Becker (first published in the United States three years ago), "Jakob" was filmed successfully in 1974 by East German filmmaker Frank Beyer. (That film won the Silver Bear at the Berlin Film Festival and was nominated for the foreign-language Oscar in 1976 but lost to "Black and White in Color".)
Kassovitz, who experienced the war as a child in his native Hungary and moved to Paris during the 1956 revolution, is not well known outside France, where's he's been directing and writing for 40 years, mostly in television. "Jakob" is a tricky but successful marriage of a good story -- adapted by Kassovitz and French screenwriter-novelist Didier Decoin (recent miniseries "The Count of Monte Cristo" and the original book "The Chambermaid on the Titanic") -- with a filmmaking team committed to showing the harsh milieu with few concerns about commerciality.
The result is far more inspiring, entertaining and worth experiencing than you might expect. Set not in a concentration camp but in Lodz, Poland, in the winter of 1944, "Jakob" is the tale of a futureless man, a cafe owner isolated with his fellow Jews by the Germans in the guarded ghetto. One evening before curfew, Jakob (Williams) chases after a newspaper carried by a breeze and is harassed by a guard.
Ordered to report for punishment for doing nothing wrong, inside a Germans-only building with a banished radio, widower Jakob overhears news that the Russians are advancing against the Nazis. Everything changes for him when he's miraculously spared by the seemingly distracted occupiers and returns home bursting to tell someone the first encouraging information about the outside world they've heard in a long time.
But now he's in serious danger knowing something he should not, which is why he only reluctantly tells others. To stop headstrong Mischa (Liev Schrieber) from a suicidal gesture, Jakob tells him the news. A few scenes later, Jakob's forced to swear he's telling the truth to stop defeated Kowalsky (Bob Balaban) from hanging himself. Keeping secrets is impossible for these two reborn rascals, and the story gets out that Jakob has a radio hidden away.
In short order, Jakob becomes an underground celebrity. He secretly takes another huge risk by hiding an orphan girl (Hannah Taylor Gordon) who escapes from a train bound for the death camps. Denying that he has a radio does no good, and Jakob realizes he is helping his fellow victims. He starts to play the role of a reluctant -- not necessarily genuine -- prophet, but there's not a happy end to his story.
Alan Arkin, Armin Mueller-Stahl, Mathieu Kassovitz, Michael Jeter and Nina Siemaszko fill out the excellent cast. The sets, cinematography, makeup, costumes and Edward Shearmur's score are more than adequate at transporting one into the film's grim environment.
JAKOB THE LIAR
Sony Pictures Entertainment
Columbia Pictures
Blue Wolf Prods. with Kasso Inc.
Director: Peter Kassovitz
Screenwriters: Peter Kassovitz & Didier Decoin
Based on the book by: Jurek Becker
Producers: Marsha Garces Williams, Steven Haft
Executive producer: Robin Williams
Director of photography: Elemer Ragalyi
Production designer: Luciana Arrighi
Editor: Claire Simpson
Costume designer: Wieslawa Starska
Music: Edward Shearmur
Casting: Billy Hopkins, Suzanne Smith, Kerry Barden
Color/stereo
Cast:
Jakob: Robin Williams
Mischa: Liev Schreiber
Kowalsky: Bob Balaban
Frankfurter: Alan Arkin
Lina: Hannah Taylor Gordon
Kirschbaum: Armin Mueller-Stahl
Rosa: Nina Siemaszko
Avron: Michael Jeter
Herschel: Mathieu Kassovitz
Running time -- 120 minutes
MPAA rating: PG-13...
- 7/20/2004
- The Hollywood Reporter - Movie News
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