Anouk Aimee, the French actress who received a best actress Oscar nomination in 1967 for A Man And A Woman, has died aged 92.
Aimee died at her home in Paris. Her death was confirmed by an Instagram post from her daughter Manuela Papatakis, which read, “With my daughter, Galaad, and my granddaughter, Mila, we have great sadness to announce the departure of my mother Anouk Aimée.”
Born Nicole Francoise Florence Dreyfus in Paris in 1932, she made her film debut aged 14 in the role of Anouk in Henri Calef’s The House Under The Sea. She kept the name for her career,...
Aimee died at her home in Paris. Her death was confirmed by an Instagram post from her daughter Manuela Papatakis, which read, “With my daughter, Galaad, and my granddaughter, Mila, we have great sadness to announce the departure of my mother Anouk Aimée.”
Born Nicole Francoise Florence Dreyfus in Paris in 1932, she made her film debut aged 14 in the role of Anouk in Henri Calef’s The House Under The Sea. She kept the name for her career,...
- 6/18/2024
- ScreenDaily
Anouk Aimee, the French actress who received a best actress Oscar nomination in 1967 for A Man And A Woman, has died aged 92.
Aimee died at her home in Paris. Her death was confirmed by an Instagram post from her daughter Manuela Papatakis, which read, “With my daughter, Galaad, and my granddaughter, Mila, we have great sadness to announce the departure of my mother Anouk Aimée.”
Born Nicole Francoise Florence Dreyfus in Paris in 1932, she made her film debut aged 14 in the role of Anouk in Henri Calef’s The House Under The Sea. She kept the name for her career,...
Aimee died at her home in Paris. Her death was confirmed by an Instagram post from her daughter Manuela Papatakis, which read, “With my daughter, Galaad, and my granddaughter, Mila, we have great sadness to announce the departure of my mother Anouk Aimée.”
Born Nicole Francoise Florence Dreyfus in Paris in 1932, she made her film debut aged 14 in the role of Anouk in Henri Calef’s The House Under The Sea. She kept the name for her career,...
- 6/18/2024
- ScreenDaily
Actress Anouk Aimée, the sophisticated French beauty who graced the films of Federico Fellini, Jacques Demy, Sidney Lumet, Bernardo Bertolucci and Claude Lelouch, has died. She was 92.
Aimee’s daughter said in an Instagram post on Tuesday that the star died at her home in Paris without providing further details.
Perhaps best known for her role opposite Jean-Louis Trintignant in Lelouch’s A Man and a Woman (1966) — for which she received an Oscar nomination for best actress and won a Golden Globe — Aimée also starred in such art house standouts as Fellini’s La Dolce Vita (1960) and 8 1/2 (1963), Demy’s Lola (1961), Jacques Becker’s Montparnasse 19 (1958) and Bertolucci’s Tragedy of a Ridiculous Man (1981).
Her career kicked off in the late 1940s and lasted all the way through a reunion with Trintignant in The Best Years (Les Plus belles annees), Lelouch’s 2019 epilogue to A Man and a Woman.
With more than 80 feature credits,...
Aimee’s daughter said in an Instagram post on Tuesday that the star died at her home in Paris without providing further details.
Perhaps best known for her role opposite Jean-Louis Trintignant in Lelouch’s A Man and a Woman (1966) — for which she received an Oscar nomination for best actress and won a Golden Globe — Aimée also starred in such art house standouts as Fellini’s La Dolce Vita (1960) and 8 1/2 (1963), Demy’s Lola (1961), Jacques Becker’s Montparnasse 19 (1958) and Bertolucci’s Tragedy of a Ridiculous Man (1981).
Her career kicked off in the late 1940s and lasted all the way through a reunion with Trintignant in The Best Years (Les Plus belles annees), Lelouch’s 2019 epilogue to A Man and a Woman.
With more than 80 feature credits,...
- 6/18/2024
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Something unusual happened at the Cannes premiere of “The Best Years of a Life,” Claude Lelouch’s syrupy second sequel to his trend-setting 1966 global smash “A Man and a Woman.” Not the endless, roaring standing ovation that happened when the lights came up: That’s expected, even required, of the tuxed-up crowd at Grand Théâtre Lumière, for films far better and worse than this light fondant fancy. No, it came just after, as the applause eventually faded out and the vast audience harmonized in collective gibberish sing-song: Chaba-daba-da-daba-daba-da, da-da-da chaba-daba-da… — over and over, until beachside revelers some distance away could probably hear this mass karaoke spin on Francis Lai’s original 1966 love theme drifting on the breeze.
It was a sweet, decidedly uncool moment that emphasized what Lelouch’s sweet, decidedly uncool film really is: not so much a freestanding feature as an unadulterated nostalgia trip, its modest effect dependent...
It was a sweet, decidedly uncool moment that emphasized what Lelouch’s sweet, decidedly uncool film really is: not so much a freestanding feature as an unadulterated nostalgia trip, its modest effect dependent...
- 5/31/2019
- by Guy Lodge
- Variety Film + TV
In one of the more poignant moments from Richard Linklater’s “Before Midnight,” chatty couple Celine and Jesse imagine what it might be like to look back on their romance 80 years in the future. It’s a tantalizing speculation in a triptych rich with possibilities. Now, Claude Lelouch gets there with a trilogy of his own: In “The Best Years of a Life,” the 81-year-old French director revisits the swooning courtship from his Oscar-winning 1966 “A Man and a Woman,” concluding a cheesy opus that launched more than 50 years ago.
Decades before Celine and Jesse, there was the saga of Jean-Louis and Anne. With fellow octogenarians Jean-Louis Trintignant and Anouk Aimée reprising their roles as passionate lovers despite forces that pull them apart, “The Best Years of a Life” delivers a melancholic salute to the original movie. However, Lelouch’s obsession with his story’s legacy means that the movie often...
Decades before Celine and Jesse, there was the saga of Jean-Louis and Anne. With fellow octogenarians Jean-Louis Trintignant and Anouk Aimée reprising their roles as passionate lovers despite forces that pull them apart, “The Best Years of a Life” delivers a melancholic salute to the original movie. However, Lelouch’s obsession with his story’s legacy means that the movie often...
- 5/18/2019
- by Eric Kohn
- Indiewire
Au Beaune Pain: Lelouch Continues with Frivolous Comedy Spackle
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
- 4/28/2017
- by Nicholas Bell
- IONCINEMA.com
Chicago – Rarely does a filmmaker have a long or influential enough career to revisit a story and characters that they’ve explored in a previous film. Oscar winner Danny Boyle has both qualifications, as he again takes on – 20 years after its 1996 release – his classic film “Trainspotting, which is elegantly titled “T2 Trainspotting.”
The boys of the original “Trainspotting” have reunited for the outing, portrayed by Ewan McGregor, Robert Carlyle, Ewen Bremner and Jonny Lee Miller. Middle age angst is the theme, as each of the characters are going through some life changes, but the spirit of their larcenous souls are still intact. The first film launched the uber-careers of Ewan McGregor and director Danny Boyle, and the re-exploration of the energetic style and quick-cutting scene work are back in the new story as well.
Jonny Lee Miller and Ewan McGregor in ‘T2 Trainspotting,’ directed by Danny Boyle
Photo credit: Sony Pictures Releasing...
The boys of the original “Trainspotting” have reunited for the outing, portrayed by Ewan McGregor, Robert Carlyle, Ewen Bremner and Jonny Lee Miller. Middle age angst is the theme, as each of the characters are going through some life changes, but the spirit of their larcenous souls are still intact. The first film launched the uber-careers of Ewan McGregor and director Danny Boyle, and the re-exploration of the energetic style and quick-cutting scene work are back in the new story as well.
Jonny Lee Miller and Ewan McGregor in ‘T2 Trainspotting,’ directed by Danny Boyle
Photo credit: Sony Pictures Releasing...
- 3/22/2017
- by [email protected] (Adam Fendelman)
- HollywoodChicago.com
A Man and a Woman: Anouk Aimée to attend New York City screening of Claude Lelouch classic co-starring Jean-Louis Trintignant AMaaW, Lelouch's romantic drama starring Aimée (by then a two-decade veteran in films) and Jean-Louis Trintignant (who had been around since the early '50s), will be presented by the Academy of Motion Picture Arts and Sciences in partnership with To Save and Project: The 10th MoMA International Festival of Film Preservation. The 1966 Cannes Film Festival Palme d'Or winner and Best Foreign Language Film Academy Award winner will be screened on Monday, October 15, at 7 p.m. at the Academy Theater at Lighthouse International at 111 East 59th Street in New York City. (Please scroll down for more information.) Aimée, who was nominated for a Best Actress Oscar for her performance as a widow in love with race-car driver Trintignant, is scheduled to attend the screening. A new print of the film,...
- 10/4/2012
- by Andre Soares
- Alt Film Guide
With Stay Cool and Manure in the halls of 2009, the Polish Brothers are looking forward. Variety reports that the pair are gearing up for a new film called For Lovers Only. Michael Polish will direct, Mark Polish wrote the script, and the latter will star alongside Stana Katic, who's currently steaming up the boob tube opposite Nathan Fillion on Castle.
Said to be inspired by the French New Wave and Claude Lelouch's 1966 double Oscar-winner A Man and a Woman, the romance focuses on a journalist (Katic) in Paris on assignment, who runs into a lover (Polish) from her past. Presumably enraptured by reconciliation, the pair flee Paris and travel "by train, car, and motorcycle as their love affair takes them across France from Normandy to St. Tropez."
Stana Katic traveling across France is intriguing enough, but here's something to further whet your appetite: This incarnation is a bit different than Lelouch's film,...
Said to be inspired by the French New Wave and Claude Lelouch's 1966 double Oscar-winner A Man and a Woman, the romance focuses on a journalist (Katic) in Paris on assignment, who runs into a lover (Polish) from her past. Presumably enraptured by reconciliation, the pair flee Paris and travel "by train, car, and motorcycle as their love affair takes them across France from Normandy to St. Tropez."
Stana Katic traveling across France is intriguing enough, but here's something to further whet your appetite: This incarnation is a bit different than Lelouch's film,...
- 5/3/2010
- by Monika Bartyzel
- Cinematical
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