View allAll Photos Tagged existential
Gavin, just before we packed up our campsite and piled into the van for our 12+ hour drive back.
I'm currently have an existential film crisis. I love film photos so much but I am perpetually betrayed by my own. This batch is (for the most part) very dark and unsharp (even if there is an issue with my 1.4/me in regards to my 1.4, it supersedes even that) and there are barely any I like. I am going to send my next batch of film to my Michigan store and if I don't like those I'm going to stop using film. If I like them then I will only use them and I will protest the local store because I hate them. When I feel emotions, I feel them strongly and I HATE that store with a flaming passion.
This scanner is making me crop my photos and I don't like that.
This month is so packed with school stuff (and other miserable compulsories) but also potential photography activities and I can't figure out how to spend my time! I'd chose photography and other fun stuff, naturally, except for the fact that I've done that for the rest of the semester and I actually need to pass these miserable classes. Why can't all my classes be like Spider Biology and Classics and Fantasty!? I'm really feeling the "life is short/carpe diem" message but school goes against that and I haven't been able to resolve this. I have so many books to read and photos to see and take and edit and shows and movies to watch and things to do and places to explore and AH.
I've rediscovered the joy of This Providence. Here, have some!
Ideas for a Secret Santa gift for a photographer? She's really talented (you may know her!) and I don't want to disappoint her!
š Senses : š Vision š To Touch š Proprioception š Hearing Equilibrioception š Smell āØļø Thermoception š Taste
ā” Intelligences : ļø Spatial Intelligence
ā¹ļø Kinesthetic Body Intelligence
šØāš©āš§āš¦ Interpersonal Intelligence
š² Ecologicalist Naturalist Intelligence
ļø Verbal-linguistic
š Existential Intelligence
š WHAT :
ļø eXploration / Corsica - Corse (South)
š Corsica - Corse (South)
š« United States of America/America World
š City/Nature Galaxy
āØ eXploration Universe (ļø)
š Type : Ground eXploration
šØ Style : eXploration Corsica - Corse (South)
š Language : International (š¬š§ description in English, but comprehensible by the whole world)
ļø You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ/playlists?
ā The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.
š HOW MUCH :
š 8 Senses
ā” 6 Intelligences
WHO :
ļø Picture by LG
š” Posted by LG
š¼ Video made by LG (Windows Movie Maker 2017)
Ā© Etoile Copyright
ā The description may no longer be up to date. Due to human discoveries and improvements. Pay attention to the date of publication and creation. Even works of art suffer the outrages of time
ā WHY : eXplore South Corsica (Le sud de la Corse)
š WHERE : South Corsica (Le sud de la Corse) (š«š·France)
š WHEN : July 2017
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Chynna Highsted
Painting
Fictional body horror media awoke existential fascination and anxieties regarding mortality within me. These emotions are translated into narratives in my paintings.
The horror genre shows the event of death by excessive violence and bodily destruction and my work explores both of these themes. My comprises self-portraits which combine my love for horror with my own image but also reflect myself and humanityās inevitable end. Much like death itself this body of work is neutral, I donāt intend for the viewer to feel anything in particular. Instead, this work is a reflection of my emotions and an invitation for the viewer to contemplate theirs.
Historical and contemporary body horror media has resulted in unease over our own bodies. My intention with this project is to explore this discomfort and the bluntness of death and decomposition. Our bodies will eventually betray ourselves through their inability to avoid death and this is the cruel fact of life my paintings represent.
š Senses : š Vision š To Touch š Proprioception š Hearing Equilibrioception š Smell āØļø Thermoception š Taste
ā” Intelligences : ļø Spatial Intelligence
ā¹ļø Kinesthetic Body Intelligence
šØāš©āš§āš¦ Interpersonal Intelligence
š² Ecologicalist Naturalist Intelligence
ļø Verbal-linguistic
š Existential Intelligence
š WHAT :
ļø eXploration / Corsica - Corse (South)
š Corsica - Corse (South)
š« United States of America/America World
š City/Nature Galaxy
āØ eXploration Universe (ļø)
š Type : Ground eXploration
šØ Style : eXploration Corsica - Corse (South)
š Language : International (š¬š§ description in English, but comprehensible by the whole world)
ļø You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ/playlists?
ā The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.
š HOW MUCH :
š 8 Senses
ā” 6 Intelligences
WHO :
ļø Picture by LG
š” Posted by LG
š¼ Video made by LG (Windows Movie Maker 2017)
Ā© Etoile Copyright
ā The description may no longer be up to date. Due to human discoveries and improvements. Pay attention to the date of publication and creation. Even works of art suffer the outrages of time
ā WHY : eXplore South Corsica (Le sud de la Corse)
š WHERE : South Corsica (Le sud de la Corse) (š«š·France)
š WHEN : July 2017
š Follow us :
š„ Facebook : www.facebook.com/EXploration-160662074522859/
š„ Instagram : www.instagram.com/explorationetoile/
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š„ Dailymotion : www.dailymotion.com/explorationetoile
š„ Youtube : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ?
š„ Tumblr : explorationetoile.tumblr.com/
š„ Pinterest : www.pinterest.fr/eXplorationEtoile/
š„ Google + : plus.google.com/u/0/b/103663921505133236472/1036639215051...
š„ Twitter : twitter.com/eXplorationETL
š Contact : contactexploration@gmail.com
Abraham Lincoln was the 16th president of the United States, widely remembered for leading the country through the Civil War and abolishing slavery. Lincoln only had 18 months of formal schooling despite making a career as a lawyer and politician. He is also the only US president to hold a patent, a device to lift boats over obstructions in the river. -- Curated by The Existentialist. Philosophy, psychology and motivation for a life of purpose and passion. Image courtesy Nootrobox. Follow me for stunning images and thought provoking quotes everyday! -- Tags: #existential, #life, #philosophy, #psychology, #inspirational, #motivation, #purpose, #quotes, #hope, #beautiful, #happiness, #free, #wallpaper, #download, #business, #photography, #wisdom, #truth, #original, #qotd, #positive, #brain, #depression, #depressed, #sad, #lonely, #mind, #science, #success, #passion. Share your comments below!. Check out this post on Instagram! ift.tt/1ScoSM9.
My view is that there are three modes of being. I hold that we can directly observe them in elements of whatever is at any time before the mind in any way. They are the being of positive qualitative possibility, the being of actual fact, and the being of law that will govern facts in the future.
Let us begin with considering actuality, and try to make out just what it consists in. If I ask you what the actuality of an event consists in, you will tell me that it consists in its happening then and there. The specifications then and there involve all its relations to other existents. The actuality of the event seems to be in its relations to the universe of existents. A court may issue injunctions and judgments against me & I care not a snap of my finger for them & I may think them idle paper.
My second daughter - She was three weeks old here and likely marveling at color/patterns once she could focus.
The pillow she's lying on is on my stomach, so there wasn't much room to position the shot, it was just lucky that it came out OK with the sun coming in through a gap in the blinds.
Now for Thirdness. Five minutes of our waking life will hardly pass without our making some kind of prediction; and in the majority of cases these predictions are fulfilled in the event. Yet a prediction is essentially of a general nature, and cannot ever be completely fulfilled. To say that a prediction has a decided tendency to be fulfilled, is to say that the future events are in a measure really governed by a law. If a pair of dice turns up sixes five... times running, that is a mere uniformity. The dice might happen fortuitously to turn up sixes a thousand times running. But that would not afford the slightest security for a prediction that they would turn up sixes the next time. If the prediction has a tendency to be fulfilled, it must be that future events have a tendency to conform to a general rule. āOh,ā but say the Nominalists, āthis general rule is nothing but a mere word or complex of words!ā
Zio Ziegler says of his work. āMy paintings begin with an existential journey, and can only end with an absurdist conclusionāthe rest is just a vehicle for conveying this.ā (Bay Area artist)
objects in existential graphs.
Representation, by which I mean the function of a sign in general, is a combinant, or trifile, relation; since it subsists between the sign, the object represented, and the interpretant or sign of the same object determined by the sign in the mind of the person addressed, or in other field of signification. The object is something external to and independent of the sign which determines in the sign an element corresponding to itself; so that we have to distinguish the quasi-real object from the presented object; or some may say, the external from the internal object, and the extrous object as it is in itself is to be distinguished from the feature of the external object that is represented. The interpretant is created by the sign; and since the sign as such determines the interpretant, it is in some sense represented in the sign, that is, it is called up by the sign. While in itself it is acted on by the sign, it is so acted upon as to represent the sign to be a sign of the object. Thus, while the object is bifiss, the
OTTAWAāShould all Supreme Court of Canada judges ā or at least the next one ā be bilingual? Should the next vacancy go to a Black, brown or Indigenous jurist, joinlive77.com whether they are bilingual or not, to reflect Canadaās population in all its diversity?
Itās a legal dilemma wrapped up in a language debate, tinged with electoral politics, and an existential question about what kind of country Canada is.
The Trudeau government has kicked off both.
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On the same day it announced the launch of a search for an Ontario jurist to take the seat of soon-to-retire Justice Rosalie Abella, the Liberal government said it plans to put into law Prime Minister Justin Trudeauās practice of appointing only āfunctionally bilingualā judges to the top court.
It was a campaign commitment, and with a whiff of a possible election in the air, Trudeau is ticking off political boxes.
But the āhow?ā he proposes to do it is less clear. And advocates of greater diversity say mandatory bilingualism will block many qualified candidates from being elevated to the Supreme Court.
Six months ago the Canadian Association of Black Lawyers wrote an open letter to the Trudeau government urging swifter action to address systemic anti-Black racism throughout the justice system and noting āonly three Black judges have been appointed under the Trudeau-led government.ā
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Raphael Tachie, senior counsel for TD Financial Group and president of the association, in an interview said the top court should be a bilingual institution but the requirement āthat each individual justice be bilingual disqualifies a lot of really qualified Black and racialized jurists that we think would be great appointments to the court.ā
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Many practising outside Quebec have not been exposed to French language or training, or ācome to the language later on in life and might not always be as proficient as they ought to be. Thatās the challenge,ā he said, adding āI think the court can compensate for that,ā using translators and interpretation. He urges Trudeau to look beyond the Ontario Court of Appeal to lower courts and the bar: āYou need to elevate your talent,ā he said.
Brad Regehr, the first Indigenous lawyer to lead the Canadian Bar Association, says the same is true for Indigenous candidates who āalready face systemic barriers in terms of achieving that proficiency in official languages.ā Regehr says itās time for Trudeau to name someone who is Black, Indigenous or a person of colour to the Supreme Court.
A member of the Peter Ballantyne Cree Nation in Saskatchewan who lives and practices law in Winnipeg, Regehr argues that Canada is ānot just a bijuridical state where thereās English common law and French civil law; Indigenous legal traditions form part of the law of Canada and that seems to be forgotten or ignored and the only way youāre going to get any perspective on that is by having an Indigenous judge.āhttps://joinlive77.com
Both want Trudeau to walk his progressive talk, and do something concrete to promote reconciliation and diversity.
Right now, the Supreme Court of Canada is the only federally-appointed court that is exempt from the Official Languages Act which says all Canadians must be able to access services in federal courts in either English or French. In other words, it puts the onus on federal courts to provide bilingual services, not on prime ministers to appoint only bilingual judges. The Liberals propose to drop the exception.
Trudeau does not intend to change the Supreme Court Act which sets out the eligibility criteria for judicial appointments to the top court.
Rachel Rappaport, a spokesperson for Justice Minister David Lametti, says the bilingual services exemption for the Supreme Court āwas never intended to be permanent.ā
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In 1988 Conservative justice minister Ray Hnatyshyn said during debates on the Official Languages Act that, āIt is probably in the national interest at this time that we not put any constraints on the court in the way in which it does its business.ā He said that āuntil we reach a more developed stage of bilingualism across the country,ā governments should be able pick from among āthe best people who are unilingual, in both languages.ā
There have been at least 10 bills introduced over the past 10 years to require top judges be bilingual, according to Jean-Christophe BĆ©dard-Rubin, a doctoral candidate at University of Torontoās faculty of law. None has passed.
But unilingualism has had an impact, says BĆ©dard-Rubin, who with a colleague has done the first empirical study of the impact of unilingualism on the Supreme Courtās operations. They analyzed cases from 1969 to 2013. In an interview, he said, āThere tends to be a linguistic separation of labour at the Supreme Court.ā
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In an age defined by shadows cast from Eastern horizons, young hearts across Europe awaken to an unsettling truth: war is no longer a distant memory, but an imminent reality. The conflict in Ukraine intensifies, a grim harbinger of potential wider devastation. Facing the inexorable march of history, the youth confronts an existential reckoning, their futures uncertain beneath gathering storm clouds. Fear threatens to consume their spirits, yet amidst this anxiety blossoms an urgent call to embrace connection, intimacy, and profound understanding. Love becomes a quiet rebellion against impending darkness, a sanctuary constructed amid the ruins of former certainties. Relationships deepen, forged with the immediacy and intensity reserved for those who know the transient fragility of peace. The dictum of their generation emerges clear and poignant: to love deeply and without reservation before the inevitable descent into chaos. Waiting is no longer an option; hesitation risks irreparable loss. Thus, the youth's defiance becomes poetic, anchored in the resolute belief that love, even in the bleakest hour, can withstand and transcend the cruelty of fate.
Poem:
Where Ashes Lie
Upon fields once sewn with promises,
Now march legions of iron and flame,
Youth awakened by distant thunder
From sleep, now restless, not the same.
The horizon wears a mourning veil,
Borne heavy upon tender hearts,
And every whispered word of love,
A defiance, as twilight departs.
In ancient libraries and cafƩ rooms,
Hands brush softly, urgent and shy,
Aware tomorrow might sever chance,
Where dreamsātoo fragileāswiftly die.
Yet beneath these anxious stars,
Affection thrives with fierce intent,
For love, a fire in darkest night,
Refuses fearās grim testament.
Kiss as though the world might end,
In quiet rooms where candles fade,
For in these tumultuous days of dread,
True courage wears loveās accolade.
Though war may scourge this trembling earth,
And silence peaceās fleeting song,
The young claim moments rich and trueā
In loveās embrace, bold and strong.
Three Haikus:
Shadows cross Europe,Hearts entwined against the storm;Love is rebellion.
Whispers of war grow,Urgency ignites soft touchāTomorrow unsure.
Libraries in dusk,Hands clasp beneath trembling skies,Hope carved from sorrow.
Chynna Highsted
Painting
Fictional body horror media awoke existential fascination and anxieties regarding mortality within me. These emotions are translated into narratives in my paintings.
The horror genre shows the event of death by excessive violence and bodily destruction and my work explores both of these themes. My comprises self-portraits which combine my love for horror with my own image but also reflect myself and humanityās inevitable end. Much like death itself this body of work is neutral, I donāt intend for the viewer to feel anything in particular. Instead, this work is a reflection of my emotions and an invitation for the viewer to contemplate theirs.
Historical and contemporary body horror media has resulted in unease over our own bodies. My intention with this project is to explore this discomfort and the bluntness of death and decomposition. Our bodies will eventually betray ourselves through their inability to avoid death and this is the cruel fact of life my paintings represent.
A statue of Sigmund Freud on a rooftop in Prague, looking like it is getting ready to jump. Perhaps in the city that produced Franz Kafka, even the statues face existential crises?
Taken somewhere in the Old Town part of Prague, Czech Republic.
Moustakas, C. (1994). Existential psychotherapy and the interpretation of dreams. Northvale, NJ: Jason Aronson.
š Senses : š Vision š To Touch š Proprioception š Hearing Equilibrioception š Smell āØļø Thermoception š Taste
ā” Intelligences : ļø Spatial Intelligence
ā¹ļø Kinesthetic Body Intelligence
šØāš©āš§āš¦ Interpersonal Intelligence
š² Ecologicalist Naturalist Intelligence
ļø Verbal-linguistic
š Existential Intelligence
š WHAT :
ļø eXploration (1) West Coast {USA}
š West Coast {USA}
š« United States of America/America World
š City/Nature Galaxy
āØ eXploration Universe (ļø)
š Type : Ground eXploration
šØ Style : eXploration of the west coast of the united states
š Language : International (š¬š§ description in English, but comprehensible by the whole world)
ļø You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ/playlists?
ā The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.
š HOW MUCH :
š 8 Senses
ā” 6 Intelligences
WHO :
š„ Filmed by LG
š” Posted by LG
š¼ Video made by LG (Windows Movie Maker 2017)
Ā© Etoile Copyright
ā The description may no longer be up to date. Due to human discoveries and improvements. Pay attention to the date of publication and creation. Even works of art suffer the outrages of time
ā WHY : To eXplore the west coast of the united states
š WHERE : West Coast (šŗšø United States of America)
š WHEN : 12 June 2011
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š„ Facebook : www.facebook.com/EXploration-160662074522859/
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š Contact : contactexploration@gmail.com
Those questions that I have faced from myself, inescapably, for decades
That silent tumult they cause at the very core of existence
The answers that I search in every turn of life
A Meaning that forever seems to elude.
Recently I’ve been experiencing one of those existential photo crises. Low motivation, cliché results, slumping Instagram likes. When I get bummed about my photography I do what any self-respecting unprofessional photographer would do – put on some soft jazz, pour...
A strangely philosophical find in the middle of the road toward the end of the brutal Josephine/Arlington Street climb at the start of Pittsburgh's Pedal PGH ride.
via Instagram ift.tt/2bJCJSh
Alain Delon š²š«
(8 November 1935 ā 18 August 2024)
ŠŃŠ¾ŃŠ°Š¹ Š»ŠµŠ³ŠµŠ½Š“Š°!
ŠŠµ ŃŠ°Šŗ Š¼Š½Š¾Š³Š¾ Ń ŃŠ¼Š¾ŃŃŠµŠ» Ń Š½ŠøŠ¼ (ŃŃŠ¾ ŠæŠ¾Š½ŃŠ°Š²ŠøŠ»Š¾ŃŃ):
ŠŠ°ŃŃŠµŠ¹Š½ / La Piscine / The Swimming Pool, 1969
ŠŠ° ŃŃŠŗŠ¾Š¼ ŃŠ¾Š»Š½ŃŠµ / Plein Soleil / Purple Noon, 1960
ŠŠ°ŃŠ¼ŠµŠ½ŠøŠµ / L'eclisse / The Eclipse, 1962
ŠØŠæŠøŠŗ / ŠŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠøŠ¹ / Un Flic / Dirty Money, 1972
Š¢ŃŠø ŃŠ°Š³Š° Š² Š±ŃŠµŠ“Ń / Tre Passi Nel Delirio / Spirits of the Dead, 1968
ŠŠµŠ¾ŠæŠ°ŃŠ“ / Il Gattopardo / The Leopard, 1963
Š”Š¼ŠµŃŃŃ Š½ŠµŠ³Š¾Š“ŃŃ / Mort d'un pourri / Death of a Corrupt Man, 1977
ŠŃŠ°ŃŠ½ŃŠ¹ ŠŗŃŃŠ³ / Le Cercle Rouge / The Red Circle, 1970
ŠŃŠ¾ŃŠ°Š¹, Š“ŃŃŠ³ / Adieu l'ami / Farewell Friend, 1968
ŠŠµŠ²ŃŃŠŗŠ° Š½Š° Š¼Š¾ŃŠ¾ŃŠøŠŗŠ»Šµ / La Motocyclette / The Girl on a Motorcycle, 1968
ŠŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠ°Ń ŠøŃŃŠ¾ŃŠøŃ / Flic Story / Cop Story, 1975
ŠŃŠ°ŃŠ½Š¾Šµ ŃŠ¾Š»Š½ŃŠµ / Soleil rouge / Red Sun, 1971
ŠØŠ¾Šŗ / Le Choc / The Shock, 1982
ŠŠ²Š¾Šµ Š² Š³Š¾ŃŠ¾Š“Šµ / Deux Hommes Dans La Ville / Two Men in Town, 1973
ŠŃŠŗŠ°ŃŠµŠ»Šø ŠæŃŠøŠŗŠ»ŃŃŠµŠ½ŠøŠ¹ / Les Aventuriers / The Last Adventure, 1967
ŠŠ° ŃŠŗŃŃŃ ŠæŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠ¾Š³Š¾ / Pour la peau d'un flic / For a Cop's Hide, 1981
ŠŃŠ¾Š¼Šµ ŃŠ¾Š³Š¾, Š¾Š½ ŃŠ½ŃŠ»ŃŃ Š² Š½ŠµŠæŠ»Š¾Ń Š¾Š¼ ŃŠ¾Š²ŠµŃŃŠŗŠ¾Š¼ Š“ŠµŃŠµŠŗŃŠøŠ²Šµ Ā«Š¢ŠµŠ³ŠµŃŠ°Š½-43Ā» (1980) (ŠŠ»ŠµŠ½ ŠŠµŠ»Š¾Š½, ŠŠ°ŃŠ°Š»ŠøŃ ŠŠµŠ»Š¾Ń Š²Š¾ŃŃŠøŠŗŠ¾Š²Š°, ŠŠ³Š¾ŃŃ ŠŠ¾ŃŃŠ¾Š»ŠµŠ²ŃŠŗŠøŠ¹, ŠŃŠ¼ŠµŠ½ ŠŠ¶ŠøŠ³Š°ŃŃ Š°Š½ŃŠ½) Š¾Š± ŠøŃŃŠ¾ŃŠøŠø Š»ŃŠ±Š²Šø ŃŠ¾Š²ŠµŃŃŠŗŠ¾Š³Š¾ ŃŠ°Š·Š²ŠµŠ“ŃŠøŠŗŠ° Šø ŃŃŠ°Š½ŃŃŠ¶ŠµŠ½ŠŗŠø ŃŃŃŃŠŗŠ¾Š³Š¾ ŠæŃŠ¾ŠøŃŃ Š¾Š¶Š“ŠµŠ½ŠøŃ, ŠæŠµŃŠµŠ²Š¾Š“ŃŠøŃŃ Ń ŠæŠµŃŃŠøŠ“ŃŠŗŠ¾Š³Š¾ ŃŠ·ŃŠŗŠ°.
...
Š”ŃŠµŠ“Šø ŠµŠ³Š¾ Š»ŃŃŃŠøŃ ŃŠøŠ»ŃŠ¼Š¾Š² Š¾Š±ŃŃŠ½Š¾ ŃŠøŠ³ŃŃŠøŃŃŃŃ (Š½Šµ Š·Š°Š±ŃŃŃ ŠæŠ¾ŃŠ¼Š¾ŃŃŠµŃŃ):
LāEclisse [The Eclipse] (Michelangelo Antonioni, 1962)
Alain Delon, Monica Vitti, Francisco Rabal, Louis Seigner, Lilla Brignone, Rossana Rory, Mirella Ricciardi
La Piscine [The Swimming Pool] (Jacques Deray, 1969)
Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin
Plein soleil [Purple Noon] (RenƩ ClƩment, 1960)
Alain Delon, Marie LaforĆŖt, Maurice Ronet, Elvire Popesco
Un Flic [A Cop / Dirty Money] (Jean-Pierre Melville, 1972)
Alain Delon, Richard Crenna, Catherine Deneuve, Riccardo Cucciolla, Michael Conrad, Paul Crauchet, Simone ValĆØre, AndrĆ© Pousse, Jean Desailly
Le SamouraĆÆ [The Samurai] (Jean-Pierre Melville, 1967)
Alain Delon, FranƧois PƩrier, Nathalie Delon, Cathy Rosier
Le Cercle Rouge [The Red Circle] (Jean-Pierre Melville, 1970)
Alain Delon, Bourvil, Yves Montand, Gian Maria VolontƩ, Mireille Darc
Rocco e i suoi fratelli [Rocco and His Brothers] (Luchino Visconti, 1960)
Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou, Roger Hanin, Spiros FocƔs, Paolo Stoppa, Suzy Delair, Claudia Cardinale
Le battant [The Fighter] (Alain Delon, 1983)
Alain Delon, FranƧois PƩrier, Anne Parillaud, AndrƩa FerrƩol
Monsieur Klein [Mr. Klein] (Joseph Losey, 1976)
Alain Delon, Jeanne Moreau, Michael Lonsdale, Francine BergƩ, Juliet Berto, Massimo Girotti, Suzanne Flon
Il Gattopardo [The Leopard] (Luchino Visconti, 1963)
Burt Lancaster, Claudia Cardinale, Alain Delon, Paolo Stoppa, Rina Morelli, Romolo Valli, Serge Reggiani, Terence Hill, Ida Galli, Lucilla Morlacchi, Anna Maria Bottini
Mort d'un pourri [Death of a Corrupt Man] (Georges Lautner, 1977)
Alain Delon, Ornella Muti, StƩphane Audran, Mireille Darc, Klaus Kinski
Deux hommes dans la ville [Two Men in Town] (JosƩ Giovanni, 1973)
Jean Gabin, Alain Delon, Mimsy Farmer, Victor Lanoux, CƩcile Vassort, Ilaria Occhini, Guido Alberti, Malka Ribowska, Christine FabrƩga, GƩrard Depardieu, Robert Castel, Bernard Giraudeau, Michel Bouquet
Le clan des Siciliens [The Sicilian Clan] (Henri Verneuil, 1969)
Jean Gabin, Alain Delon, Lino Ventura, Irina Demick, Elisa Cegani, Sabine Sun
Borsalino (Jacques Deray, 1970)
Alain Delon, Jean-Paul Belmondo, Catherine Rouvel, Michel Bouquet, Daniel Ivernel, HĆ©lĆØne RĆ©my, Odette Piquet, Mireille Darc, Laura Adani
Boomerang (Arthur Penn, 1976)
Alain Delon, Carla Gravina, Charles Vanel, Louis Julien, Dora Doll, Pierre Maguelon, Suzanne Flon
MĆ©lodie en sous-sol, lit [Any Number Can Win] (Henri Verneuil, 1963)
Jean Gabin, Alain Delon, Claude Cerval, Viviane Romance, Carla Marlier, Dora Doll, Rita Cadillac, Dominique Davray
La veuve Couderc [The Widow Couderc] (Pierre Granier-Deferre, 1971)
Simone Signoret, Alain Delon, Ottavia Piccolo, Jean Tissier, Monique Chaumette, Boby Lapointe, Pierre Collet, FranƧois Valorbe, Jean-Pierre Castaldi
Parole de flic [Copās Honor] (Jospeh C. Hanwright, 1985)
Alain Delon, Jacques Perrin, Fiona GĆ©lin, Ćva Darlan, Jean-FranƧois StĆ©venin, StĆ©phane Ferrara, Vincent Lindon, Dominique Valera
Tony Arzenta [Big Guns / No Way Out] (Joseph L. Mankiewicz, 1973)
Alain Delon, Richard Conte, Carla Gravina, Marc Porel, Roger Hanin, Nicoletta Machiavelli, Lino Troisi, Silvano Tranquilli, Corrado Gaipa, Umberto Orsini, Giancarlo Sbragia, Erika Blanc, Ettore Manni, Loredana Nusciak, Rosalba Neri, Maria Pia Conte
Les FƩlins [Joy House] (RenƩ ClƩment, 1964)
Jane Fonda, Alain Delon, Lola Albright, Carl Studer
Teheran 43 [Š¢ŠµŠ³ŠµŃŠ°Š½-43] (Alexander Alov, Vladimir Naumov, 1981)
Natalya Belokhvostikova, Igor Kostolevsky, Armen Dzhigarkhanyan, Alain Delon, Claude Jade
Le Passage [The Passage] (RenƩ Manzor, 1986)
Alain Delon, Christine Boisson, Jean-Luc Moreau, Alain Musy, Alberto Lomeo, Jean-Pierre Levasseur, Daniel Emilfork
Le retour de Casanova (Ćdouard Niermans, 1992)
Alain Delon, Elsa Lunghini, Fabrice Luchini, Wadeck Stanczak, Delia Boccardo, Gilles Arbona, Violetta Sanchez, Jacques Boudet, Philippe Leroy, Alain Cuny, Yveline Ailhaud, Sarah Bertrand, Rachel Bizet, Sandrine Blancke, Sophie Bouilloux
La Tulipe noire [The Black Tulip] (Christian-Jaque, 1964)
Alain Delon, Virna Lisi, Adolfo Marsillach, Dawn Addams, Akim Tamiroff, Laura Valenzuela, George Rigaud, Francis Blanche, JosƩ Jaspe, Robert Manuel
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LāEclisse [The Eclipse] (Michelangelo Antonioni, 1962)
Alain Delon, Monica Vitti, Francisco Rabal, Louis Seigner, Lilla Brignone, Rossana Rory, Mirella Ricciardi
A seminal masterpiece made by a true pioneer of European cinema, Michelangelo Antonioniās 1962 drama stars Delon and the iconic Monica Vitti. Antonioni conducts an examination of humanityās fundamental existential despair by telling a story about a young translator (Vitti) who falls in love with a mesmerising stockbroker (Delon). Antonioniās 1962 masterpiece ended up winning the Special Jury Prize at Cannes and was nominated for the Palme dāOr. Martin Scorsese has listed LāEclisse as one of the films that had a profound impact on him, stating that it was a āstep forward in storytellingā¦ felt less like a story and more like a poem.ā
"L'Ćclipse" is a meditative and visually stunning film directed by Michelangelo Antonioni. Alain Delon stars opposite Monica Vitti in this exploration of alienation and existential ennui. Delon plays Piero, a young stockbroker who becomes romantically involved with Vittoria (Vitti), a woman recently out of a tumultuous relationship. The film's narrative is secondary to its exploration of mood and atmosphere. Antonioni uses the modernist landscapes of Rome to reflect the characters' emotional states. "L'Ćclipse" was acclaimed for its innovative cinematography and Antonioni's direction. It won the Special Jury Prize at the Cannes Film Festival and is considered a landmark in arthouse cinema. Delon's work in the film further established him as an actor capable of profound and introspective roles.
The film is set in Rome and tells the story of a young woman named Vittoria (Monica Vitti) who is experiencing a sense of disillusionment with her life and her relationship with her boyfriend, Riccardo (Francisco Rabal). When Vittoria meets a stockbroker named Piero (Alain Delon), the two begin a passionate and intense affair. As the story unfolds, Vittoria and Piero are shown wandering through the empty and alienating streets of Rome, searching for meaning and connection in a world that seems to be increasingly fragmented and disconnected.
Eventually, the coupleās relationship begins to falter, leading to a poignant and bittersweet conclusion. āLāEclisseā is widely regarded as one of Antonioniās masterpieces and is considered a classic of Italian cinema. The film is notable for its innovative and influential cinematography, which makes extensive use of long takes, wide shots, and striking compositions to create a sense of emptiness and alienation. The performances by Vitti, Delon, and Rabal are also widely praised, with each actor bringing a unique intensity and depth to their characters. Overall, āLāEclisseā is a powerful and haunting meditation on the human condition, and a must-see for fans of Italian cinema.
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Plein soleil [Purple Noon] (RenƩ ClƩment, 1960)
Alain Delon, Marie LaforĆŖt, Maurice Ronet, Elvire Popesco
Now remembered as Alain Delonās first major project, Purple Noon is a brilliant thriller that borrowed inspiration from the famous Patricia Highsmith novel The Talented Mr. Ripley. Although the 1999 adaptation starring Matt Damon is naturally more famous, RenĆ© ClĆ©mentās interpretation is more masterful. Delon features as the effortlessly charming con artist Tom Ripley, a criminal who would go to any lengths to maintain his lifestyle. Many talented actors have taken this role and some cite Damonās work as the definitive Tom Ripley but Delonās unique take on the fascinating character is practically immortalised in the minds of those who have had the joy of experiencing it.
"Purple Noon" is a gripping psychological thriller that catapulted Alain Delon to international fame. Directed by RenƩ ClƩment, this film is an adaptation of Patricia Highsmith's novel "The Talented Mr. Ripley." Delon stars as Tom Ripley, a young man sent to Europe to retrieve a wealthy industrialist's son, Philippe Greenleaf (Maurice Ronet). As the plot unfolds, Ripley becomes enamored with Greenleaf's luxurious lifestyle and decides to take it for himself, leading to a series of deceitful and murderous events. Delon's portrayal of Ripley is both chilling and mesmerizing, capturing the character's charm and malevolence with subtlety and intensity. "Purple Noon" received critical acclaim for its taut direction, lush cinematography, and Delon's standout performance. The film won the Edgar Allan Poe Award for Best Foreign Film and remains a classic in the thriller genre.
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La Piscine [The Swimming Pool] (Jacques Deray, 1969)
Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin
In "La Piscine," Alain Delon reunites with Romy Schneider in a sultry and suspenseful drama directed by Jacques Deray. Delon plays Jean-Paul, a writer vacationing with his girlfriend Marianne (Schneider) at a luxurious villa in the South of France (French Riviera). Their idyllic getaway is disrupted by the arrival of Marianne's former lover, Harry (Maurice Ronet), and his daughter, Penelope (Jane Birkin). Tensions escalate as old rivalries and new attractions come to the surface. Delon's portrayal of Jean-Paul is simmering with jealousy and insecurity, making the film's climax all the more gripping. The film's lush setting and slow-burning tension have made it a classic of French cinema. "La Piscine" was a commercial success and received positive reviews for its performances and direction. Delon's chemistry with Schneider and the film's atmospheric style have contributed to its enduring appeal.
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Le SamouraĆÆ [The Samurai] (Jean-Pierre Melville, 1967)
Alain Delon, FranƧois PƩrier, Nathalie Delon, Cathy Rosier
One of the finest neo-noir films ever made, Jean-Pierre Melville constructs a memorable examination of a life of crime that is laced with philosophical subtext. Alain Delon stars as an assassin who is pursued by the police as well as the organisation that hired him. Le SamouraĆÆ isnāt just Melvilleās best work but it is also the crowning jewel of Delonās oeuvre. It solidified his image in the mainstream consciousness as a dreamy spectre haunting an urban landscape which is completely devoid of morality.
In "Le SamouraĆÆ," Alain Delon delivers one of his most iconic performances as Jef Costello, a meticulous and stoic hitman navigating the criminal underworld of Paris. Directed by Jean-Pierre Melville, this film is a masterpiece of French noir, blending minimalist style with existential themes. Jef Costello's life is governed by a strict code of honor, reminiscent of the samurai warriors of ancient Japan. When a contract killing goes awry, Jef finds himself pursued by both the police and his employers. Delon's portrayal of Costello is hauntingly enigmatic, his silence and restraint speaking volumes. The film's stark visuals and moody atmosphere have made it a cult classic. "Le SamouraĆÆ" was well-received by critics and has since been regarded as a seminal work in the genre, influencing countless filmmakers.
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Le Cercle Rouge [The Red Circle] (Jean-Pierre Melville, 1970)
Alain Delon, Bourvil, Yves Montand, Gian Maria VolontƩ, Mireille Darc
Another gem by Melville which features stellar acting work by Delon, The Red Circle is an enigmatic crime thriller is one of the most unconventional heist films ever made. Almost like a deconstruction of the genre, The Red Circle is a meticulously crafted masterpiece that curates an incredible experience for the audience. While explaining the filmās title, Melville came up with this epigraph: āSiddhartha Gautama, the Buddha, drew a circle with a piece of red chalk and said: āWhen men, even unknowingly, are to meet one day, whatever may befall each, whatever the diverging paths, on the said day, they will inevitably come together in the red circle.'ā
"Le Cercle Rouge" is another collaboration between Alain Delon and director Jean-Pierre Melville, cementing their status as a formidable duo in French cinema. In this film, Delon plays Corey, a recently released convict who teams up with a fellow escapee, Vogel (Gian Maria VolontĆ©), and an ex-police sharpshooter, Jansen (Yves Montand), to pull off a meticulously planned heist. The film's title refers to a Zen Buddhist proverb about fate bringing people together. Melville's signature styleācool, methodical, and visually strikingāis evident throughout the film. Delon's portrayal of Corey is understated yet powerful, embodying the stoic professionalism of a seasoned criminal. "Le Cercle Rouge" was well-received by critics and is considered one of Melville's finest works. Its influence can be seen in numerous heist films that followed, and Delon's performance remains a benchmark for the genre.
The film follows the story of a recently released convict named Corey (Delon), who teams up with a former police officer named Jansen (Montand) and a sharpshooter named Vogel (VolontĆØ) to pull off a daring jewelry heist. As the three men plan and execute the heist, they face a series of challenges and obstacles that test their loyalty and trust in each other.
The film explores themes of crime, justice, and morality, and is noted for its stylish cinematography, sparse dialogue, and minimalist approach to storytelling. Delon delivers a strong and charismatic performance as Corey, while Montand and VolontĆØ bring depth and complexity to their respective roles. Melvilleās direction is praised for its masterful use of suspense and tension, with the heist scene in particular considered a standout moment in the film. āLe Cercle Rougeā is widely regarded as one of the greatest crime films ever made and a classic of French cinema. It has influenced many subsequent films and remains a powerful and memorable work that continues to captivate audiences to this day.
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Un Flic [A Cop / Dirty Money] (Jean-Pierre Melville, 1972)
Alain Delon, Richard Crenna, Catherine Deneuve, Riccardo Cucciolla, Michael Conrad, Paul Crauchet, Simone ValĆØre, AndrĆ© Pousse, Jean Desailly
A Parisian police chief has an affair, but unbeknownst to him, the boyfriend of the woman heās having an affair with is a bank robber planning a heist. Edouard spends his time chasing criminals. Nightclub owner Simon works with a small crew to execute daring heists with big payoffs. Meanwhile Cathy is torn between them. After a bank robbery in a small Riviera town goes wrong, a game of cat and mouse begins between Edouard and Simonās gang. Late one rainy afternoon, four men rob a bank in the French coastal town of St.-Jean-de-Monts, not without deadly complications. The lead crook, Simon (Richard Crenna), leads a double life as the owner of a French nightclub. One of his regulars is a quiet police inspector named Coleman (Alain Delon). In time, their lines of work will shake their friendship like nothing else, not even Coleman's affair with Simon's wife, Cathy (Catherine Deneuve).
"Un flic" (A Cop), also known as "Dirty Money," is a film about the dehumanizing nature of police work. Coleman is suave but conflicted, willing to slap around a suspect or even a suspected suspect but not so hardened as not to be conflicted about that. "This job makes us skeptical," his deputy Morand (Paul Crauchet) notes as the pair leave a morgue. "Especially about skepticism," Coleman replies.
Director Jean-Pierre Melville was a leading light of the New Wave movement, and his commitment to impressionistic pure cinema is on strong display right at the outset. We open on the sound of crashing waves, filling the screen with blue. The car with Simon and the other robbers moves slowly into position. With rain crashing around them on an empty street, three of the four men wordlessly get out in turn to take their positions in the bank.
"Un Flic" marks the final collaboration between Alain Delon and Jean-Pierre Melville. In this film, Delon switches sides, playing police commissioner Edouard Coleman. The story follows Coleman's pursuit of a gang of bank robbers, one of whom is his close friend Simon (Richard Crenna). Delon's portrayal of Coleman is marked by a cool detachment and relentless determination. The film's opening heist sequence, set in a rain-soaked Paris, is a masterclass in tension and atmosphere. As Coleman closes in on the gang, the lines between right and wrong blur, leading to a morally ambiguous conclusion. Although "Un Flic" did not achieve the same level of acclaim as Melville's earlier works, it remains a compelling and stylish crime thriller. Delon's performance as a morally complex cop adds depth to the film, making it a worthy addition to his filmography.
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Rocco e i suoi fratelli [Rocco and His Brothers] (Luchino Visconti, 1960)
Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou, Roger Hanin, Spiros FocƔs, Paolo Stoppa, Suzy Delair, Claudia Cardinale
One of Delonās breakthrough performances which propelled him into proper stardom, Luchino Viscontiās 1960 crime drama chronicles the condition of Southern immigrants who moved to northern Italy for a better life. Delon stars as Rocco in an incredibly powerful film about the sociopolitical climate of that time. The film received glowing reviews at the time of its release and won several awards but its greatest achievement is standing the test of time. Even after all these years, Rocco and His Brothers is an essential part of the body of works of both Luchino Visconti and Alain Delon.
Directed by the legendary Luchino Visconti, "Rocco and His Brothers" is an epic family saga set against the backdrop of post-war Italy. The film tells the story of the Parondi family, who move from the impoverished south to the industrial north in search of a better life. Alain Delon plays Rocco Parondi, the second eldest brother, whose kindness and sense of duty contrast sharply with the brutality of his surroundings. Rocco's journey is marked by sacrifice and heartbreak as he navigates his complex relationships with his brothers, particularly Simone (Renato Salvatori), whose destructive path threatens to tear the family apart. Delon's performance is deeply affecting, showcasing his ability to convey vulnerability and strength. "Rocco and His Brothers" was critically acclaimed and won the Special Jury Prize at the Venice Film Festival. Delon's portrayal of Rocco is considered one of his finest, solidifying his reputation as a versatile and powerful actor.
The movie stars Alain Delon and Annie Girardot, among others, and tells the story of a family of five brothers who move from rural Southern Italy to the industrial North in search of a better life. The film follows the family as they struggle to adapt to the fast-paced, competitive city life. Rocco (Delon), the second eldest brother, is the most sensitive and vulnerable of the siblings, and becomes embroiled in a complicated love triangle with his brotherās girlfriend, Nadia (Girardot). āRocco and His Brothersā is a powerful and emotionally charged drama that explores themes such as family, migration, and the challenges of urbanization.
The film is known for its vivid portrayal of the Italian landscape and society of the time, as well as its poignant performances and striking cinematography. The movie was highly acclaimed upon its release, and has since become a classic of Italian cinema. Its influence can be seen in the work of many subsequent filmmakers, both in Italy and around the world. āRocco and His Brothersā is a must-watch for fans of Italian cinema and powerful family dramas.
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Le battant [The Fighter] (Alain Delon, 1983)
Alain Delon, FranƧois PƩrier, Anne Parillaud, AndrƩa FerrƩol
āLe Battantā is a 1983 French crime-thriller film directed by Alain Delon and starring Delon himself in the lead role. The film tells the story of Jacques Darnay (Delon), a retired safecracker who is forced to come out of retirement when his friend is killed by a gang of criminals.
Darnay sets out to avenge his friendās death and take down the criminal organization responsible, while also trying to protect his girlfriend (played by Carla Romanelli) and avoid being caught by the police. The film is known for its suspenseful plot, stylish cinematography, and Delonās cool and suave performance as the charismatic anti-hero. It was a commercial success in France and helped further cement Delonās status as a leading figure in French cinema.
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Monsieur Klein [Mr. Klein] (Joseph Losey, 1976)
Alain Delon, Jeanne Moreau, Michael Lonsdale, Francine BergƩ, Juliet Berto, Massimo Girotti, Suzanne Flon
A mystery drama that was produced by Delon himself, Monsieur Klein stars Delon as the titular figure of an apathetic art dealer who exploits persecuted Jewish refugees in Nazi Germany. However, things get complicated when the fascist authorities start suspecting that he is Jewish as well. A brilliant film which indulges in poignant political commentary, Delonās work in Monsieur Klein earned him the CĆ©sar Award for Best Actor. It almost won the coveted Palme dāOr at Cannes but was beaten to it by another masterpiece that came out in the same year ā Martin Scorseseās Taxi Driver.
The film is set in Nazi-occupied Paris during World War II and tells the story of Robert Klein (Alain Delon), a wealthy art dealer who becomes embroiled in a mystery when he receives a Jewish newspaper addressed to him. As Klein investigates the matter, he becomes increasingly paranoid and obsessed, convinced that he is being mistaken for a Jewish man with the same name who is wanted by the Gestapo.
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Il Gattopardo [The Leopard] (Luchino Visconti, 1963)
Burt Lancaster, Claudia Cardinale, Alain Delon, Paolo Stoppa, Rina Morelli, Romolo Valli, Serge Reggiani, Terence Hill, Ida Galli, Lucilla Morlacchi, Anna Maria Bottini
In "The Leopard," Alain Delon reunites with director Luchino Visconti to create a historical epic based on Giuseppe Tomasi di Lampedusa's novel. Set during the Risorgimento, the film chronicles the decline of the Sicilian aristocracy and the rise of a new social order. Delon stars as Tancredi Falconeri, the dashing and ambitious nephew of Prince Don Fabrizio Salina (Burt Lancaster). Tancredi's charm and pragmatism contrast with his uncle's melancholic acceptance of change. Delon brings a vibrant energy to the role, capturing Tancredi's youthful exuberance and political savvy. The film's lavish production design and meticulous attention to historical detail contribute to its grandeur.
"The Leopard" won the Palme d'Or at the Cannes Film Festival and received widespread critical acclaim. Delon's performance, alongside those of Lancaster and Claudia Cardinale, helped make the film a timeless classic in Italian cinema.
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Les FƩlins [Joy House] (RenƩ ClƩment, 1964)
Jane Fonda, Alain Delon, Lola Albright, Carl Studer
ŠŠ°ŃŠŗ ŠŠ¾ŃŠµŠ»Ń, Ā«Š¼Š°Š½ŠøŠæŃŠ»ŃŃŠ¾Ń ŠŗŠ°ŃŃŠ°Š¼Šø, ŃŠµŠ½Š½ŠøŃŠ½ŃŠ¼Šø ŃŠ°ŠŗŠµŃŠŗŠ°Š¼Šø Šø Š¼Š°ŃŠøŠ½Š°Š¼ŠøĀ», Š²Š¾ Š²ŃŠµŠ¼Ń ŠæŃŠµŠ±ŃŠ²Š°Š½ŠøŃ Š² Š”ŠØŠ Š·Š°Š²Š¾Š“ŠøŃ ŃŠ¾Š¼Š°Š½ Ń Š¶ŠµŠ½Š¾Š¹ Š±Š¾Š³Š°ŃŠ¾Š³Š¾ Š°Š¼ŠµŃŠøŠŗŠ°Š½ŃŠŗŠ¾Š³Š¾ Š³Š°Š½Š³ŃŃŠµŃŠ° ŠŠ°ŠŗŠŠøŠ½Š³Š°. ŠŠ½ Š²Š¾Š·Š²ŃŠ°ŃŠ°ŠµŃŃŃ Š²Š¾ Š¤ŃŠ°Š½ŃŠøŃ, Š° ŠæŠ¾ ŠµŠ³Š¾ ŃŃŠ¾ŠæŠ°Š¼ ŃŠ¶Šµ ŠøŠ“ŃŃ ŃŠ±ŠøŠ¹ŃŃ, ŠŗŠ¾ŃŠ¾ŃŃŠµ Š“Š¾Š»Š¶Š½Ń ŠæŃŠøŠ²ŠµŠ·ŃŠø ŠµŠ³Š¾ Š³Š¾Š»Š¾Š²Ń ŠøŃ Š±Š¾ŃŃŃ. ŠŠ³Š¾ Š·Š°Ń Š²Š°ŃŃŠ²Š°ŃŃ Š² Š³Š¾ŃŃŠøŠ½ŠøŃŠµ Š² ŠŠ¾Š½ŃŠµ-ŠŠ°ŃŠ»Š¾ Šø Š²ŃŠ²Š¾Š·ŃŃ Š½Š° ŠæŃŃŃŃŠ½Š½Š¾Šµ ŠæŠ¾Š±ŠµŃŠµŠ¶ŃŠµ Š”ŃŠµŠ“ŠøŠ·ŠµŠ¼Š½Š¾Š³Š¾ Š¼Š¾ŃŃ. ŠŠ°ŃŠŗŃ ŃŠ“Š°ŠµŃŃŃ Š±ŠµŠ¶Š°ŃŃ, ŃŠ³Š½Š°Š² Š°Š²ŃŠ¾Š¼Š¾Š±ŠøŠ»Ń Šø Š½Š°ŠæŃŠ°Š²ŠøŠ² ŠµŠ³Š¾ Šŗ Š¾Š±ŃŃŠ²Ń. Š ŃŠ°Š·Š¾ŃŠ²Š°Š½Š½Š¾Š¹ Š¾Š“ŠµŠ¶Š“Šµ Šø Ń ŠŗŃŠ¾Š²Š¾ŠæŠ¾Š“ŃŠµŠŗŠ°Š¼Šø, Š¾Š½ Š°Š²ŃŠ¾ŃŃŠ¾ŠæŠ¾Š¼ Š“Š¾Š±ŠøŃŠ°ŠµŃŃŃ Š“Š¾ Š±Š»ŠøŠ¶Š°Š¹ŃŠµŠ³Š¾ Š³Š¾ŃŠ¾Š“Š° Šø ŠæŃŃŃŠµŃŃŃ ŃŃŠµŠ“Šø Š±ŠµŠ·Š“Š¾Š¼Š½ŃŃ Š² ŃŠµŃŠŗŠ¾Š²Š½Š¾Š¼ ŠæŃŠøŃŃŠµ. Š¢Š°Š¼ Š¾Š½ ŠæŃŠøŠ²Š»ŠµŠŗŠ°ŠµŃ Šŗ ŃŠµŠ±Šµ Š²Š½ŠøŠ¼Š°Š½ŠøŠµ Š³Š»Š°Š¼ŃŃŠ½Š¾Š¹ ŠæŠ°ŃŃ Š°Š¼ŠµŃŠøŠŗŠ°Š½ŃŠŗŠ¾Š³Š¾ ŠæŃŠ¾ŠøŃŃ Š¾Š¶Š“ŠµŠ½ŠøŃ: ŠŠ°ŃŠ±Š°ŃŃ Šø ŠŠµŠ»ŠøŠ½Š“Ń, ŃŠ¾Š²ŠµŃŃŠ°ŃŃŠøŃ ŃŠµŠ³ŃŠ»ŃŃŠ½ŃŠµ Š±Š»Š°Š³Š¾ŃŠ²Š¾ŃŠøŃŠµŠ»ŃŠ½ŃŠµ Š²ŠøŠ·ŠøŃŃ. ŠŠµŠ½ŃŠøŠ½Ń ŠæŃŠµŠ“Š»Š°Š³Š°ŃŃ MaŃŠŗŃ ŃŠ°Š±Š¾ŃŃ ŃŠ¾ŃŃŃŠ¾Š¼, ŠæŃŠ¾Š¶ŠøŠ²Š°Š½ŠøŠµ Šø ŠæŠøŃŠ°Š½ŠøŠµ, Šø Š¾Š½ Š¾Ń Š¾ŃŠ½Š¾ ŃŠ¾Š³Š»Š°ŃŠ°ŠµŃŃŃ, ŠæŠ¾ŃŠ¾Š¼Ń ŃŃŠ¾ ŃŠ±ŠøŠ¹ŃŃ ŠæŃŠ¾ŃŠ»ŠµŠ“ŠøŠ»Šø ŠµŠ³Š¾ Š“Š¾ ŠæŃŠøŃŃŠ°. ŠŠ°ŃŠ±Š°ŃŠ°, Š±Š¾Š³Š°ŃŠ°Ń Š²Š“Š¾Š²Š°, Š¶ŠøŠ²ŃŃ Š² ŃŠ¾ŃŠŗŠ¾ŃŠ½Š¾Š¼ Š¾ŃŠ¾Š±Š½ŃŠŗŠµ Š² Š½ŠµŠ¾Š³Š¾ŃŠøŃŠµŃŠŗŠ¾Š¼ ŃŃŠøŠ»Šµ Ń ŠµŃ Š±ŠµŠ“Š½Š¾Š¹ Š“Š²Š¾ŃŃŠ¾Š“Š½Š¾Š¹ ŃŠµŃŃŃŠ¾Š¹, ŠŠµŠ»ŠøŠ½Š“Š¾Š¹, ŠŗŠ¾ŃŠ¾ŃŃŃ Š¾Š½Š° ŠøŃŠæŠ¾Š»ŃŠ·ŃŠµŃ ŠŗŠ°Šŗ ŃŠ»ŃŠ¶Š°Š½ŠŗŃ. ŠŃŠµŠ½Ń Š±ŃŃŃŃŠ¾ Š¼Š¾Š»Š¾Š“Š¾Š¹ ŃŠµŠ»Š¾Š²ŠµŠŗ Š½Š°ŃŠøŠ½Š°ŠµŃ ŠæŠ¾Š½ŠøŠ¼Š°ŃŃ, ŃŃŠ¾ ŃŠ²Š»ŃŠµŃŃŃ ŠæŠµŃŠŗŠ¾Š¹ Š² ŠŗŠ°ŠŗŠ¾Š¹-ŃŠ¾ ŠøŠ³ŃŠµ. ŠŠ° ŃŠ°Š¼Š¾Š¼ Š“ŠµŠ»Šµ Š½Š° Š²ŠøŠ»Š»Šµ Š½Š°Ń Š¾Š“ŠøŃŃŃ ŠµŃŃ Š¾Š“ŠøŠ½ Š¾Š±ŠøŃŠ°ŃŠµŠ»Ń: ŠµŠ³Š¾ Š·Š¾Š²ŃŃ ŠŠµŠ½ŃŠ°Š½, Šø ŠæŠ¾Š»ŠøŃŠøŃ ŃŠ°Š·ŃŃŠŗŠøŠ²Š°ŠµŃ ŠµŠ³Š¾ Š·Š° ŃŠ±ŠøŠ¹ŃŃŠ²Š¾ Š¼ŃŠ¶Š° ŠµŠ³Š¾ Š»ŃŠ±Š¾Š²Š½ŠøŃŃ, ŠŠ°ŃŠ±Š°ŃŃ. ŠŠ°ŃŠæŠ¾ŃŃ ŠŠ°ŃŠŗŠ° Š½ŃŠ¶ŠµŠ½ ŠŠµŠ½ŃŠ°Š½Ń Š“Š»Ń Š½Š¾Š²Š¾Š¹ ŠøŠ“ŠµŠ½ŃŠøŃŠ½Š¾ŃŃŠø Šø Š²ŃŠµŠ·Š“Š° ŠøŠ· ŃŃŃŠ°Š½Ń. ŠŠ“Š½Š°ŠŗŠ¾ ŠŠ°ŃŠŗ ŠæŃŠµŃŃŠæŠµŠ²Š°ŠµŃ Š² ŃŠ¾Š±Š»Š°Š·Š½ŠµŠ½ŠøŠø ŠŠ°ŃŠ±Š°ŃŃ, Šø ŃŠ° ŃŠµŃŠ°ŠµŃ ŠæŃŠµŠ“Š°ŃŃ Š±ŃŠ²ŃŠµŠ³Š¾ Š²Š¾Š·Š»ŃŠ±Š»ŠµŠ½Š½Š¾Š³Š¾. Š”Š¾ ŃŠ²Š¾ŠµŠ¹ ŃŃŠ¾ŃŠ¾Š½Ń, ŠŠµŠ»ŠøŠ½Š“Š° Š²Š»ŃŠ±Š»ŃŠµŃŃŃ Š² MaŃŠŗŠ° Šø ŠæŃŃŠ°ŠµŃŃŃ Š¾ŃŠ¾ŃŠ²Š°ŃŃ ŠµŠ³Š¾ Š¾Ń ŠŠ°ŃŠ±Š°ŃŃ. ŠŠ»Ń Š“Š¾ŃŃŠøŠ¶ŠµŠ½ŠøŃ ŃŃŠ¾Š¹ ŃŠµŠ»Šø Š¾Š½Š° Š·Š°ŃŃŠ°Š²Š»ŃŠµŃ Š¼ŃŠ¶ŃŠøŠ½ ŠæŠ¾Š²ŠµŃŠøŃŃ, Š±ŃŠ“ŃŠ¾ ŠŠ°ŃŠ±Š°ŃŠ° Š¾Š±Š¼Š°Š½ŃŠ²Š°ŠµŃ ŠøŃ Š¾Š±Š¾ŠøŃ .
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Mort d'un pourri [Death of a Corrupt Man / To Kill a Rat] (Georges Lautner, 1977)
Alain Delon, Ornella Muti, StƩphane Audran, Mireille Darc, Klaus Kinski
ŠŠµŠ¹ŃŃŠ²ŠøŠµ ŠæŃŠ¾ŠøŃŃ Š¾Š“ŠøŃ Š²Š¾ Š¤ŃŠ°Š½ŃŠøŠø Š² 1970-Šµ Š³Š¾Š“Ń. ŠŃŠ°Š²ŃŠµ ŠŠ°ŃŠµŃŠ°Š»Ń ā Š“ŃŃŠ³ Š“ŠµŠæŃŃŠ°ŃŠ° Š¤ŠøŠ»ŠøŠæŠæŠ° ŠŃŠ±Š°Ń. Š¤ŠøŠ»ŠøŠæŠæ ŠæŠ¾ŠæŠ°Š» Š² Š½ŠµŠæŃŠøŃŃŠ½ŃŃ ŠøŃŃŠ¾ŃŠøŃ, ŠµŠ³Š¾ ŠæŠµŃŠµŠ±ŃŠ°Š½ŠŗŠ° Ń Š“ŃŃŠ³ŠøŠ¼ Š“ŠµŠæŃŃŠ°ŃŠ¾Š¼ Š”ŠµŃŃŠ°Š½Š¾ Š·Š°ŠŗŠ¾Š½ŃŠøŠ»Š°ŃŃ Š“ŃŠ°ŠŗŠ¾Š¹ Šø ŃŠ¼ŠµŃŃŃŃ ŠæŠ¾ŃŠ»ŠµŠ“Š½ŠµŠ³Š¾. ŠŃŠøŃŠøŠ½Š¾Š¹ ŃŠ°Š·Š¼Š¾Š»Š²ŠŗŠø ŃŃŠ°Š»Š° ŠŗŠ¾ŃŃŃŠæŃŠøŃ Šø ŠæŠ¾ŠæŃŃŠŗŠø Š²Š·Š°ŠøŠ¼Š½Š¾Š³Š¾ ŃŠ°Š½ŃŠ°Š¶Š° Š¼ŠµŠ¶Š“Ń ŠæŠ¾Š»ŠøŃŠøŃŠµŃŠŗŠøŠ¼Šø Š“ŠµŃŃŠµŠ»ŃŠ¼Šø. Š ŃŃŠŗŠø Š¤ŠøŠ»ŠøŠæŠæŠ° ŠæŠ¾ŠæŠ°Š“Š°ŠµŃ Š“Š¾ŃŃŠµ Š”ŠµŃŃŠ°Š½Š¾, ŠµŠ³Š¾ ŃŠµŠŗŃŠµŃŠ½ŃŠ¹ Š“Š½ŠµŠ²Š½ŠøŠŗ, ŃŠ¾Š“ŠµŃŠ¶Š°ŃŠøŠ¹ ŠŗŠ¾Š¼ŠæŃŠ¾Š¼ŠµŃŠøŃŃŃŃŃŃ ŃŠøŠ»ŃŠ½ŃŃ Š¼ŠøŃŠ° ŃŠµŠ³Š¾ ŠøŠ½ŃŠ¾ŃŠ¼Š°ŃŠøŃ. ŠŠ° Š“Š½ŠµŠ²Š½ŠøŠŗŠ¾Š¼ Š½Š°ŃŠøŠ½Š°ŠµŃŃŃ Š¾Ń Š¾ŃŠ°. Š¤ŠøŠ»ŠøŠæŠæ, ŠæŃŃŠ°ŃŃŃ ŃŠæŠ°ŃŃŠø Š“Š¾ŃŃŠµ, ŠæŠµŃŠµŠ“Š°ŃŃ ŠµŠ³Š¾ ŠŃŠ°Š²ŃŠµ ŠŠ°ŃŠµŃŠ°Š»Ń Šø ŃŠ°Š¼ Š³ŠøŠ±Š½ŠµŃ. ŠŠ°ŃŠµŃŠ°Š»Ń ŃŠ“Š°ŃŃŃŃ ŃŠæŃŃŃŠ°ŃŃ Š“Š½ŠµŠ²Š½ŠøŠŗ. ŠŠ° Š½ŠµŠ³Š¾ Š²ŃŃ Š¾Š“ŃŃ ŠæŃŠµŠ“ŃŃŠ°Š²ŠøŃŠµŠ»Šø Š½ŠµŠŗŠ¾Š¹ Š¾ŃŠ³Š°Š½ŠøŠ·Š°ŃŠøŠø, ŠŗŠ¾ŃŠ¾ŃŠ°Ń Ń Š¾ŃŠµŃ ŠøŃŠæŠ¾Š»ŃŠ·Š¾Š²Š°ŃŃ ŠŗŠ¾Š¼ŠæŃŠ¾Š¼Š°Ń, Š“Š»Ń ŃŠ¾Š³Š¾ ŃŃŠ¾Š±Ń ŃŃŃŃŠ°Š½ŠøŃŃ Š½ŠµŃŠ³Š¾Š“Š½ŃŃ ŠµŠ¹ ŠæŠ¾Š»ŠøŃŠøŠŗŠ¾Š². ŠŃŠµŃ ŠµŠ³Š¾ Šø ŠæŠ¾Š»ŠøŃŠøŃ. ŠŠ°ŃŠµŃŠ°Š»Ń Š¾ŃŠŗŠ°Š·ŃŠ²Š°ŠµŃŃŃ ŠæŃŠ¾Š“Š°ŃŃ ŠøŠ½ŃŠ¾ŃŠ¼Š°ŃŠøŃ, Šø ŃŠµŠæŠµŃŃ ŠµŠ³Š¾ Š¶ŠøŠ·Š½Ń Š² Š¾ŠæŠ°ŃŠ½Š¾ŃŃŠø. ŠŃŠ°Š²ŃŠµ Š³Š¾ŃŠ¾Š² Š¾ŃŠ“Š°ŃŃ Š“Š½ŠµŠ²Š½ŠøŠŗ ŃŠ¾Š»ŃŠŗŠ¾ ŠæŃŠø ŃŃŠ»Š¾Š²ŠøŠø, ŠµŃŠ»Šø ŠµŠ¼Ń ŃŠ¾Š¾Š±ŃŠ°Ń ŠøŠ¼Ń ŃŠ±ŠøŠ¹ŃŃ Š¤ŠøŠ»ŠøŠæŠæŠ° ŠŃŠ±Š°Ń. ŠŠ¼ Š¾ŠŗŠ°Š·ŃŠ²Š°ŠµŃŃŃ ŠŗŠ¾Š¼ŠøŃŃŠ°Ń ŠŠ“ŃŠøŠµŠ½ ŠŠ¾ŃŠ¾, Š¾Š“ŠµŃŠ¶ŠøŠ¼ŃŠ¹ Š¼Š°Š½ŠøŠµŠ¹ Š²ŠµŠ»ŠøŠŗŠ¾Š¹ ŃŠøŃŃŠŗŠø Š²ŠµŃŃ Š¾Š² Š¾Š±ŃŠµŃŃŠ²Š° Š¾Ń Š½ŠµŠæŠ¾ŃŃŠ“Š¾ŃŠ½ŃŃ Š»ŃŠ“ŠµŠ¹.
The film score was composed and arranged by Philippe Sarde and features saxophonist Stan Getz fronting the London Symphony Orchestra. Film director Georges Lautner, who worked with Philippe Sarde on a dozen films, said that he was always impressed by the composer's ability to find an original musical approach to each picture. This time, Sarde, who always closely follows the editing process, suggested that they needed a strong soloist, preferably a tenor saxophone player, who would serve as a musical counterpart for the actor Alain Delon's famous good looks. Being a perfectionist, he opted for Stan Getz, one of the all-time great tenor saxophonists. Watching Getz's performance, Lautner decided to find a way to put the musician in the picture.
He filmed Getz playing the opening theme, "Paris, Cinq Heures du Matin", solo, and it's the saxophonist's silhouette that appears during the credits sequence in the beginning of the film... The soundtrack turned out to be costly, but the director was pleased with the outcome. Sarde's instincts were rightāGetz's saxophone gave the soundtrack a lyrical, nostalgic qualityāfitting for Alain Delon's quest in the film for the sake of the past, to honor the memory of his dead friend".
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Deux hommes dans la ville [Two Men in Town] (JosƩ Giovanni, 1973)
Jean Gabin, Alain Delon, Mimsy Farmer, Victor Lanoux, CƩcile Vassort, Ilaria Occhini, Guido Alberti, Malka Ribowska, Christine FabrƩga, GƩrard Depardieu, Robert Castel, Bernard Giraudeau, Michel Bouquet
āTwo Men in Townā (original title: Deux hommes dans la ville) is a 1973 French-Algerian crime drama directed by JosĆ© Giovanni. The movie stars Alain Delon and Jean Gabin in the lead roles, and tells the story of a former criminal, Gino (Delon), who is released from prison and tries to start a new life. However, he is constantly hounded by a police inspector, Germain (Gabin), who believes that Gino will inevitably return to a life of crime. The film explores themes such as redemption, justice, and the possibility of change. As Gino struggles to adjust to life outside of prison, he faces many challenges and setbacks, including pressure from his old criminal associates and a lack of support from society.
Germain, meanwhile, is torn between his duty as a police officer and his sympathy for Ginoās situation. āTwo Men in Townā is a gritty and powerful crime drama that offers a nuanced and complex portrayal of its characters and themes. The movie is known for its strong performances, particularly from Delon and Gabin, as well as its intense and suspenseful sequences. While the film was not a commercial success upon its release, it has since gained a reputation as a classic of French cinema. Its influence can be seen in the work of many subsequent filmmakers, particularly those working in the crime and drama genres. āTwo Men in Townā is a must-watch for fans of gritty crime dramas and powerful character studies.
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Le clan des Siciliens [The Sicilian Clan] (Henri Verneuil, 1969)
Jean Gabin, Alain Delon, Lino Ventura, Irina Demick, Elisa Cegani, Sabine Sun
"The Sicilian Clan" is a taut crime thriller that brings together three of France's biggest stars: Alain Delon, Jean Gabin, and Lino Ventura. Directed by Henri Verneuil, the film follows the elaborate heist orchestrated by a Sicilian crime family. Delon plays Roger Sartet, a suave and cunning jewel thief who escapes from prison with the help of the Manalese clan. As Sartet works with Vittorio Manalese (Jean Gabin) to steal a valuable diamond, tensions rise, leading to a gripping showdown. Delon's charisma and intensity drive the film, making Sartet a compelling anti-hero. The film's intricate plot and stylish direction make it a standout in the heist genre. "The Sicilian Clan" was a commercial success and praised for its performances and suspenseful narrative. Delon's collaboration with Gabin and Ventura is a highlight, showcasing the talents of three legendary actors.
The film also stars Jean Gabin and Lino Ventura and follows the story of a family of Sicilian gangsters who plan a daring heist on a jewelry store in Paris. Delonās performance as Sartet is one of the highlights of the film, as he brings a sense of cool confidence and charisma to the role of a criminal mastermind.
His chemistry with the other members of the cast, particularly Gabin and Ventura, adds depth and nuance to the complex relationships between the characters. Overall, āThe Sicilian Clanā is a classic heist film that showcases the talents of its talented cast and director. Delonās appearance in the film helped cement his reputation as one of the most popular and talented actors of his generation, and the film remains a beloved work of French cinema to this day.
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Borsalino (Jacques Deray, 1970)
Alain Delon, Jean-Paul Belmondo, Catherine Rouvel, Michel Bouquet, Daniel Ivernel, HĆ©lĆØne RĆ©my, Odette Piquet, Mireille Darc, Laura Adani
"Borsalino" is a classic French gangster film directed by Jacques Deray, featuring Alain Delon alongside Jean-Paul Belmondo. Set in the vibrant and tumultuous world of 1930s Marseille, the film follows the story of two small-time crooks, Roch Siffredi (Delon) and FranƧois Capella (Belmondo), who join forces to climb the ranks of the local underworld. Delon's character, Roch, is suave, ambitious, and determined to make a name for himself. His partnership with the equally charismatic Capella leads to a series of daring exploits, including heists, confrontations with rival gangs, and run-ins with the law. Their bond and rivalry drive the narrative, making "Borsalino" as much a character study as it is a crime drama. The film was a box office hit and is noted for its stylish direction, period-accurate production design, and the dynamic chemistry between Delon and Belmondo. The two leading actors' star power drew significant attention, and their performances were widely praised. "Borsalino" has since become a cult favorite, remembered for its thrilling action sequences and the magnetic presence of its stars. The film's success led to a sequel, "Borsalino & Co.," further cementing its legacy in French cinema.
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Les FƩlins [Joy House] (RenƩ ClƩment, 1964)
Jane Fonda, Alain Delon, Lola Albright, Carl Studer
In Monte Carlo, Marc, a handsome card sharp, escapes American gangsters who have been ordered to kill him because he had an affair with the boss's wife. Marc hides in a mission for the poor where Barbara, a wealthy widow, finds him and hires him as her chauffeur.
At Barbara's chateau, her niece Melinda becomes attracted to Marc, and Marc discovers that Barbara is hiding her lover Vincent in the secret rooms and passageways of the chateau. Vincent is a bank robber sought by the police for murdering Barbara's husband. He and Barbara plan to murder Marc so that Vincent may use Marc's passport to escape to South America. Marc and Barbara begin an affair but are discovered by Vincent, who then kills Barbara but is also killed by the American gangsters who mistake him for Marc.
Marc and Melinda plan to dispose of the two bodies, but when Melinda learns that Marc is planning to leave without her, she tricks the police into believing that Marc is guilty and forces him to hide in the chateau's secret rooms. He is her prisoner, just as Vincent had been her aunt's.
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Teheran 43 [Š¢ŠµŠ³ŠµŃŠ°Š½-43] (Alexander Alov, Vladimir Naumov, 1980)
Natalya Belokhvostikova, Igor Kostolevsky, Armen Dzhigarkhanyan, Alain Delon, Claude Jade
Š”Š¾Š²Š¼ŠµŃŃŠ½Š¾Šµ ŠæŃŠ¾ŠøŠ·Š²Š¾Š“ŃŃŠ²Š¾ Ā«ŠŠ¾ŃŃŠøŠ»ŃŠ¼Ā» (Š”Š”Š”Š ), Ā«Mediterranee CinemaĀ» (Š¤ŃŠ°Š½ŃŠøŃ) Šø Ā«Pro Dis FilmĀ» (ŠØŠ²ŠµŠ¹ŃŠ°ŃŠøŃ). Š ŃŠ¾Š»ŃŃ ŃŠ½ŠøŠ¼Š°Š»ŠøŃŃ ŠŠ³Š¾ŃŃ ŠŠ¾ŃŃŠ¾Š»ŠµŠ²ŃŠŗŠøŠ¹, ŠŠ°ŃŠ°Š»ŃŃ ŠŠµŠ»Š¾Ń Š²Š¾ŃŃŠøŠŗŠ¾Š²Š°, ŠŃŠ¼ŠµŠ½ ŠŠ¶ŠøŠ³Š°ŃŃ Š°Š½ŃŠ½ Šø Š·Š²ŃŠ·Š“Ń Š¼ŠøŃŠ¾Š²Š¾Š³Š¾ ŠŗŠøŠ½Š¾ (ŠŠ»ŠµŠ½ ŠŠµŠ»Š¾Š½, ŠŃŃŠ“ Š®ŃŠ³ŠµŠ½Ń, ŠŠ»Š¾Š“ ŠŠ°Š“). Š¢ŠµŠ»ŠµŠ²ŠµŃŃŠøŃ ŃŠøŠ»ŃŠ¼Š° Š½Š°Š·ŃŠ²Š°ŠµŃŃŃ Ā«ŠŠ¾ŠŗŃŃŠµŠ½ŠøŠµĀ»
ŠŠ¾ Š·Š°Š“Š°Š½ŠøŃ Š³ŠøŃŠ»ŠµŃŠ¾Š²ŃŠŗŠ¾Š³Š¾ ŃŃŠŗŠ¾Š²Š¾Š“ŃŃŠ²Š° Š² Š¢ŠµŠ³ŠµŃŠ°Š½ Š¾ŃŠµŠ½ŃŃ 1943 Š½Š°ŠŗŠ°Š½ŃŠ½Šµ ŠæŠµŃŠµŠ³Š¾Š²Š¾ŃŠ¾Š² Š³Š»Š°Š² ŠæŃŠ°Š²ŠøŃŠµŠ»ŃŃŃŠ² ŃŃŃŃ ŃŠ¾ŃŠ·Š½ŃŃ Š“ŠµŃŠ¶Š°Š² ŠæŃŠ¾Š½ŠøŠŗŠ°ŠµŃ Š³ŃŃŠæŠæŠ° Š½ŠµŠ¼ŠµŃŠŗŠøŃ ŃŠµŃŃŠ¾ŃŠøŃŃŠ¾Š², Š²Š¾Š·Š³Š»Š°Š²Š»ŃŠµŠ¼Š°Ń Š°Š³ŠµŠ½ŃŠ¾Š¼ ŠØŠµŃŠ½ŠµŃŠ¾Š¼ (Ā«ŠŠ°Š»Š°ŃĀ»). ŠŃŠøŃŠøŠ°Š»ŃŠ½ŃŠ¹ ŠæŠ¾Š²Š¾Š“ Š“Š»Ń ŠæŃŠøŠµŠ·Š“Š° ā ŃŠ¾ŠæŃŠ¾Š²Š¾Š¶Š“ŠµŠ½ŠøŠµ ŃŠµŠ»Š° Š±Š¾Š³Š°ŃŠ¾Š³Š¾ ŠøŃŠ°Š½ŃŠ°, ŃŠ¼ŠµŃŃŠµŠ³Š¾ Š² ŠØŠ²ŠµŠ¹ŃŠ°ŃŠøŠø. Š”Š¼ŠµŃŃŃ Š½Š° ŃŠ°Š¼Š¾Š¼ Š“ŠµŠ»Šµ ŃŠ²Š»ŃŠµŃŃŃ ŠæŠ¾Š“ŃŃŃŠ¾ŠµŠ½Š½ŃŠ¼ ŃŠ±ŠøŠ¹ŃŃŠ²Š¾Š¼. ŠŠ“Š²Š¾ŠŗŠ°Ń ŃŠ¼ŠµŃŃŠµŠ³Š¾ ā Š¼ŠµŃŃŠµ Š”ŠøŠ¼Š¾Š½ Š²ŠµŠ·ŃŃ Š³ŃŠ¾Š± Š² Š¢ŠµŠ³ŠµŃŠ°Š½ Š² ŃŠ¾ŠæŃŠ¾Š²Š¾Š¶Š“ŠµŠ½ŠøŠø Š½Š°Š½ŃŃŃŃ ŠæŠµŃŠµŠ²Š¾Š“ŃŠøŃŃ Šø Š°Š³ŠµŠ½ŃŠ° ŠæŠ¾Ń Š¾ŃŠ¾Š½Š½Š¾Š¹ ŠŗŠ¾Š½ŃŠ¾ŃŃ. ŠŠµŃŠµŠ²Š¾Š“ŃŠøŃŠ° ā ŠŠ°ŃŠø ŠŃŠ½Šø ā ŃŃŃŃŠŗŠ°Ń ŠæŠ¾ ŠæŃŠ¾ŠøŃŃ Š¾Š¶Š“ŠµŠ½ŠøŃ, Š²Š»Š°Š“ŠµŠµŃ ŃŃŠ°Š½ŃŃŠ·ŃŠŗŠøŠ¼, ŃŃŃŃŠŗŠøŠ¼, Š°Š½Š³Š»ŠøŠ¹ŃŠŗŠøŠ¼ Šø ŃŠ°ŃŃŠø. ŠŠ¾Š“ Š²ŠøŠ“Š¾Š¼ Š³ŃŠ¾Š±Š¾Š²ŃŠøŠŗŠ° ŃŠŗŃŃŠ²Š°ŠµŃŃŃ ŃŠ±ŠøŠ¹ŃŠ° ŠŠ°ŠŗŃ Š ŠøŃŠ°Ń, Š½Š°Š½ŃŃŃŠ¹ ŠØŠµŃŠ½ŠµŃŠ¾Š¼. Š Š°ŃŃŠ¾ŠæŠ¾ŃŃŃ ŠŠµŠ½ŠµŠ²Ń ŠŠ°ŃŠø Š·Š½Š°ŠŗŠ¾Š¼ŠøŃŃŃ Ń ŠŠ½Š“ŃŃ, Š½Šµ Š·Š½Š°Ń, ŃŃŠ¾ Š¾Š½ ŃŠ¾Š²ŠµŃŃŠŗŠøŠ¹ ŃŠ°Š·Š²ŠµŠ“ŃŠøŠŗ, ŃŠ°Š¹Š½Š¾ ŃŠ»ŠµŠ“ŃŃŃŠøŠ¹ Š² Š¢ŠµŠ³ŠµŃŠ°Š½ Š“Š»Ń Š¾Š±ŠµŃŠæŠµŃŠµŠ½ŠøŃ Š±ŠµŠ·Š¾ŠæŠ°ŃŠ½Š¾ŃŃŠø ŠæŠµŃŠµŠ³Š¾Š²Š¾ŃŠ¾Š². ŠŠ¾ŃŠ»Šµ ŠæŠ¾Ń Š¾ŃŠ¾Š½ ŃŠµŠ»Š° ŠøŃŠ°Š½ŃŠ° ŃŠ±ŠøŠ²Š°ŃŃ Š°Š“Š²Š¾ŠŗŠ°ŃŠ° Š”ŠøŠ¼Š¾Š½Š°: Š½Š°ŠŗŠ°Š½ŃŠ½Šµ Š¾Š½ Š“ŠµŠ»ŠøŠ»ŃŃ ŠæŠ¾Š“Š¾Š·ŃŠµŠ½ŠøŃŠ¼Šø Š¾ ŃŠ¾Š¼, ŃŃŠ¾ ŃŠ¼ŠµŃŃŃ ŠµŠ³Š¾ ŠŗŠ»ŠøŠµŠ½ŃŠ° Š½Šµ ŃŠ»ŃŃŠ°Š¹Š½Š°. Š£Š±ŠøŃŃ Š“Š¾Š»Š¶Š½Ń Šø ŠŠ°ŃŠø, Š½Š¾ ŠµŃ ŃŠæŠ°ŃŠ°ŠµŃ ŠŠ½Š“ŃŃ. Š ŃŠµŠ·ŃŠ»ŃŃŠ°ŃŠµ ŠøŃ ŃŃŠøŠ»ŠøŠ¹ ŃŠ»Š¾Š¶Š½Š°Ń ŃŠµŃŃŠ¾ŃŠøŃŃŠøŃŠµŃŠŗŠ°Ń Š¾ŠæŠµŃŠ°ŃŠøŃ ŃŠ¾ Š¼Š½Š¾Š¶ŠµŃŃŠ²Š¾Š¼ Š¾ŃŠ²Š»ŠµŠŗŠ°ŃŃŠøŃ Ń Š¾Š“Š¾Š² ŃŃŠæŠµŃŠ½Š¾ ŠæŃŠµŠ“Š¾ŃŠ²ŃŠ°ŃŠ°ŠµŃŃŃ. ŠŠ“Š½Š°ŠŗŠ¾ Š¾ŃŠ³Š°Š½ŠøŠ·Š°ŃŠ¾ŃŃ ŠæŠ¾ŠŗŃŃŠµŠ½ŠøŃ ŠØŠµŃŠ½ŠµŃŃ Šø ŠµŠ³Š¾ Š³Š»Š°Š²Š½Š¾Š¼Ń ŠæŠ¾Š“ŃŃŃŠ½Š¾Š¼Ń, Š½Š°ŃŠ¼Š½Š¾Š¼Ń ŃŠ±ŠøŠ¹ŃŠµ ŠŠ°ŠŗŃŃ Š ŠøŃŠ°ŃŃ, ŃŠ“Š°ŃŃŃŃ ŃŠ¹ŃŠø Š¾Ń Š²Š¾Š·Š¼ŠµŠ·Š“ŠøŃ.
Š 1970-Šµ Š³Š¾Š“Ń ŠøŠ½ŃŠµŃŠµŃ Šŗ ŃŃŠ¾Š¹ ŠøŃŃŠ¾ŃŠøŠø Š²Š¾Š·ŃŠ¾Š¶Š“Š°ŠµŃŃŃ Š²Š½Š¾Š²Ń Š² ŃŠ²ŃŠ·Šø Ń ŃŠµŠ¼, ŃŃŠ¾ Š½ŠµŠ¾Š¶ŠøŠ“Š°Š½Š½Š¾ ŠæŠ¾ŃŠ²ŠøŠ»Š°ŃŃ ŃŃŠøŃŠ°Š²ŃŠ°ŃŃŃ ŃŃŠµŃŃŠ½Š½Š¾Š¹ ŠæŠ»ŃŠ½ŠŗŠ° Ń ŠŗŠøŠ½Š¾Ń ŃŠ¾Š½ŠøŠŗŠ¾Š¹ ŃŠ¾Š±ŃŃŠøŠ¹ ŃŠµŃ Š»ŠµŃ. ŠŠøŠ½Š¾ŠæŠ»ŃŠ½ŠŗŃ ŃŠ¾Ń ŃŠ°Š½ŠøŠ» ŠŠ°ŠŗŃ Š ŠøŃŠ°Ń, ŠŗŠ¾ŃŠ¾ŃŃŠ¹ ŃŠµŃŠøŠ» ŠµŃ ŠæŃŠ¾Š“Š°ŃŃ Ń Š°ŃŠŗŃŠøŠ¾Š½Š° Š²Š¼ŠµŃŃŠµ Ń Š½Š°ŠæŠøŃŠ°Š½Š½ŃŠ¼Šø Š¼ŠµŠ¼ŃŠ°ŃŠ°Š¼Šø Š¾ ŠµŠ³Š¾ ŃŠ¾Š±ŃŃŠ²ŠµŠ½Š½Š¾Š¼ ŃŃŠ°ŃŃŠøŠø Š² ŠæŠ¾ŠŗŃŃŠµŠ½ŠøŠø. ŠŠ½ ŃŠ¼Š¾ŃŃŠøŃ ŃŠøŠ»ŃŠ¼ Šø Š² ŃŠ¾ŃŠŗŠ»ŠøŠ²Š¾Š¼ Š¾Š“ŠøŠ½Š¾ŃŠµŃŃŠ²Šµ, Šø Š²Š¼ŠµŃŃŠµ Ń ŃŠµŠ¼Šø, ŠŗŃŠ¾ ŠæŃŃŠ°ŠµŃŃŃ ŠµŠ³Š¾ ŠæŃŠ¾Š“Š°ŃŃ ŠøŠ»Šø ŠŗŃŠæŠøŃŃ, Šø Š² ŠŗŠ¾Š¼ŠæŠ°Š½ŠøŠø Š¤ŃŠ°Š½ŃŃŠ°Š· ā Š¶ŠµŠ½ŃŠøŠ½Ń, ŠŗŠ¾ŃŠ¾ŃŃŃ ŠµŠ¼Ń Ā«ŠæŠ¾Š“ŃŃŠ°Š²ŠøŠ»ŠøĀ» Š½ŃŠ½ŠµŃŠ½ŠøŠµ ŃŠµŃŃŠ¾ŃŠøŃŃŃ. ŠŠ¾Š³Š“Š° Š±ŃŠ»Š¾ Š¾Š±ŃŃŠ²Š»ŠµŠ½Š¾ Š¾Š± Š°ŃŠŗŃŠøŠ¾Š½Šµ, ŠØŠµŃŠ½ŠµŃ Šø ŠµŠ³Š¾ ŠæŃŠøŃŠæŠµŃŠ½ŠøŠŗŠø ā ŃŃŠ°ŃŃŠ½ŠøŠŗŠø ŃŠµŃŃŠ¾ŃŠøŃŃŠøŃŠµŃŠŗŠ¾Š¹ Š¾ŃŠ³Š°Š½ŠøŠ·Š°ŃŠøŠø, Š½Š°ŃŠøŠ½Š°ŃŃ Š¾Ń Š¾ŃŃ Š·Š° ŠæŠ»ŃŠ½ŠŗŠ¾Š¹ Šø Š·Š° Š¾ŃŃŠ°Š²ŃŠøŠ¼ŠøŃŃ Š² Š¶ŠøŠ²ŃŃ ŃŠ²ŠøŠ“ŠµŃŠµŠ»ŃŠ¼Šø...
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Boomerang (Arthur Penn, 1976)
Alain Delon, Carla Gravina, Charles Vanel, Louis Julien, Dora Doll, Pierre Maguelon, Suzanne Flon
Boomerang! is a 1976 American crime thriller film directed by Arthur Penn and starring a star-studded cast that includes Jane Fonda, Lee Grant, and Roy Scheider. The film is based on the true story of the murder of a priest in Bridgeport, Connecticut, and the subsequent investigation that led to the arrest and trial of a black man, who was falsely accused and later exonerated. Fonda plays Jenny, a public defender who is assigned to defend the accused man, played by Yaphet Kotto.
Despite the mounting evidence against him, Jenny becomes convinced of his innocence and begins to investigate the case on her own. As she uncovers new evidence and confronts corruption in the police department and the judicial system, she risks her career and her life to uncover the truth.
Boomerang! is a tense and suspenseful film that tackles issues of race, corruption, and justice in America. It is notable for its strong performances, particularly by Fonda and Kotto, and its nuanced portrayal of the complexities of the justice system. The film was well-received by critics and audiences, and is now considered a classic of 1970s American cinema. Boomerang! is a powerful and thought-provoking film that still resonates today, and its themes of racial injustice and corruption remain sadly relevant in modern society.
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MĆ©lodie en sous-sol, lit [Any Number Can Win] (Henri Verneuil, 1963)
Jean Gabin, Alain Delon, Claude Cerval, Viviane Romance, Carla Marlier, Dora Doll, Rita Cadillac, Dominique Davray
āAny Number Can Winā (original title: āMĆ©lodie en sous-solā) is a 1963 French crime film directed by Henri Verneuil and starring Jean Gabin, Alain Delon, and Viviane Romance. The film follows Charles (Gabin), an aging thief who plans a heist on a casino with the help of a younger accomplice named Francis (Delon). The two men must navigate their differences in age, personality, and style, while also dealing with unexpected obstacles and the risk of getting caught by the police.
The film is known for its suspenseful plot, clever twists, and strong performances by its cast, particularly Gabin and Delon. It was a critical and commercial success in France and helped establish Delon as a rising star of French cinema. The film was later remade in Hollywood as āThe Good Thiefā (2002) starring Nick Nolte.
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La veuve Couderc [The Widow Couderc] (Pierre Granier-Deferre, 1971)
Simone Signoret, Alain Delon, Ottavia Piccolo, Jean Tissier, Monique Chaumette, Boby Lapointe, Pierre Collet, FranƧois Valorbe, Jean-Pierre Castaldi
āThe Widow Coudercā is a 1971 French drama film directed by Pierre Granier-Deferre, in which Alain Delon plays the role of Jean Lavigne, a young man who becomes romantically involved with a much older woman, the widow Couderc (Simone Signoret). The film is set in the rural French countryside and explores themes of love, passion, and betrayal. Delonās performance in the film is praised for its nuance and sensitivity, as he portrays a complex character who is torn between his desire for the widow Couderc and his loyalty to his own family. His chemistry with Simone Signoret, who won the Best Actress award at the Venice Film Festival for her performance, adds depth and emotion to the story. āThe Widow Coudercā is considered one of the best films of Alain Delonās career, showcasing his range as an actor and his ability to convey powerful emotions through subtle gestures and expressions. The film is a timeless classic of French cinema and a must-watch for fans of Delon and Signoret alike.
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Parole de flic [Copās Honor] (Jospeh C. Hanwright, 1985)
Alain Delon, Jacques Perrin, Fiona GĆ©lin, Ćva Darlan, Jean-FranƧois StĆ©venin, StĆ©phane Ferrara, Vincent Lindon, Dominique Valera
āCopās Honorā is a crime drama film released in 1985, directed by Jospeh C. Hanwright and written by Andrew J. Fenady. The movie stars Timothy Dalton, Anthony Edwards, and Beverly DāAngelo. The film tells the story of young police officer Tony Church (played by Anthony Edwards), who is eager to make a name for himself in the force. He is partnered with veteran cop John Kilpatrick (played by Timothy Dalton), who is known for his tough approach and unwavering commitment to justice. As the two men investigate a series of crimes in the city, they find themselves at odds over how to handle the cases, leading to a conflict that threatens to tear them apart. āCopās Honorā is known for its gripping storyline, tense action sequences, and strong performances, particularly from Timothy Dalton as the grizzled veteran cop. The movie has been praised for its realistic portrayal of police work, as well as its exploration of themes of loyalty, honor, and the price of justice. While the film was not a major commercial success, it has gained a cult following over the years for its compelling characters and engaging storyline. āCopās Honorā remains a solid entry in the crime drama genre, and it continues to be enjoyed by fans of gritty, hard-hitting cinema.
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Tony Arzenta [Big Guns / No Way Out] (Joseph L. Mankiewicz, 1973)
Alain Delon, Richard Conte, Carla Gravina, Marc Porel, Roger Hanin, Nicoletta Machiavelli, Lino Troisi, Silvano Tranquilli, Corrado Gaipa, Umberto Orsini, Giancarlo Sbragia, Erika Blanc, Ettore Manni, Loredana Nusciak, Rosalba Neri, Maria Pia Conte
āNo Way Outā is a 1973 crime thriller directed by Joseph L. Mankiewicz and starring Sidney Poitier, Richard Widmark, and Stephen McNally. The film follows the story of a black police detective named Virgil Tibbs (Poitier) who is assigned to investigate the murder of a prostitute in San Franciscoās red-light district. As Tibbs delves deeper into the case, he uncovers a web of corruption and deceit that leads him to suspect a wealthy businessman named Bracken (Widmark) and his associates. Despite facing resistance from his superiors and racism from the community, Tibbs remains determined to solve the case and bring the perpetrators to justice. āNo Way Outā is praised for its strong performances and taut direction, with Poitier delivering a compelling portrayal of a determined and resourceful detective. Widmark is also lauded for his portrayal of a morally ambiguous villain, while Mankiewiczās direction is praised for its gritty and realistic depiction of the San Francisco underworld. The film is noted for its themes of racial tension and prejudice, with Tibbs facing discrimination and hostility from both the criminal underworld and the police force. āNo Way Outā is considered a landmark film in the portrayal of African American characters in mainstream cinema, and remains a powerful and relevant work that continues to resonate with audiences today.
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Le Passage [The Passage] (RenƩ Manzor, 1986)
Alain Delon, Christine Boisson, Jean-Luc Moreau, Alain Musy, Alberto Lomeo, Jean-Pierre Levasseur, Daniel Emilfork
Jean Diaz is a filmmaker working on an animated feature that would speak out against violence, when he is suddenly killed in an accident. Diaz comes around after death only to face Death personified, who wants to strike a bargain with him.
ŠŠ·Š²ŠµŃŃŠ½ŃŠ¹ Ń ŃŠ“Š¾Š¶Š½ŠøŠŗ ŃŠ°Š±Š¾ŃŠ°ŠµŃ Š½Š°Š“ ŃŠ¾Š·Š“Š°Š½ŠøŠµŠ¼ Š¼ŃŠ»ŃŃŠøŠæŠ»ŠøŠŗŠ°ŃŠøŠ¾Š½Š½Š¾Š³Š¾ ŃŠøŠ»ŃŠ¼Š°, Š½Š°ŠæŃŠ°Š²Š»ŠµŠ½Š½Š¾Š³Š¾ ŠæŃŠ¾ŃŠøŠ² ŃŠ°Š¼Š¾Š¹ ŠøŠ“ŠµŠø Š½Š°ŃŠøŠ»ŠøŃ. ŠŠ¾ ŠæŠ¾ŃŠ»Šµ ŃŠ»ŃŃŠ°Š¹Š½Š¾Š¹ ŃŠ¼ŠµŃŃŠø Š¾Š½ Š¾ŠŗŠ°Š·ŃŠ²Š°ŠµŃŃŃ ŠæŠµŃŠµŠ“ Š»ŠøŃŠ¾Š¼ Š²Š¾ŠæŠ»Š¾ŃŃŠ½Š½Š¾Š¹ Š”Š¼ŠµŃŃŠø, Š¶ŠµŠ»Š°ŃŃŠµŠ¹ Š·Š°ŠŗŠ»ŃŃŠøŃŃ Ń Š½ŠøŠ¼ Š“Š¾Š³Š¾Š²Š¾Ń. Š”Š¾Š³Š»Š°ŃŠ½Š¾ ŃŃŠ¾Š¼Ń Š“Š¾Š³Š¾Š²Š¾ŃŃ, Ń ŃŠ“Š¾Š¶Š½ŠøŠŗ Š±ŃŠ“ŠµŃ Š²Š¾Š·Š²ŃŠ°ŃŃŠ½ Šŗ Š¶ŠøŠ·Š½Šø, Š½Š¾ Š²Š·Š°Š¼ŠµŠ½ Š“Š¾Š»Š¶ŠµŠ½ Š±ŃŠ“ŠµŃ Š·Š°ŠŗŠ¾Š½ŃŠøŃŃ ŃŠ²Š¾Š¹ ŃŠøŠ»ŃŠ¼ ŃŠ¶Šµ ŠæŠ¾ ŠæŠ»Š°Š½Ń Š”Š¼ŠµŃŃŠø, Š¶ŠµŠ»Š°ŃŃŠµŠ¹ ŠæŠ¾Š»Š½Š¾Š³Š¾ ŃŠ½ŠøŃŃŠ¾Š¶ŠµŠ½ŠøŃ ŃŠµŠ»Š¾Š²ŠµŃŠµŃŃŠ²Š°. ŠŠ“Š½Š°ŠŗŠ¾ ŠµŃŠ»Šø Š“Š¾Š³Š¾Š²Š¾Ń Š±ŃŠ“ŠµŃ Š½Š°ŃŃŃŠµŠ½, ŃŠ¾ ŃŃŠ½ Š³ŠµŃŠ¾Ń, Š½Š°Ń Š¾Š“ŃŃŠøŠ¹ŃŃ Š² ŠŗŠ¾Š¼Šµ, ŃŠ¼ŃŃŃ.
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Le retour de Casanova (Ćdouard Niermans, 1992)
Alain Delon, Elsa Lunghini, Fabrice Luchini, Wadeck Stanczak, Delia Boccardo, Gilles Arbona, Violetta Sanchez, Jacques Boudet, Philippe Leroy, Alain Cuny, Yveline Ailhaud, Sarah Bertrand, Rachel Bizet, Sandrine Blancke, Sophie Bouilloux
āLe retour de Casanovaā is a 1992 French-Italian romantic comedy film directed by Ćdouard Niermans and starring Alain Delon as the famous lover Giacomo Casanova. The film tells the story of Casanova, who, after being exiled from Venice, returns to Paris in search of a wealthy patron who can help him clear his debts and restore his reputation. Once in Paris, Casanova becomes embroiled in a series of romantic misadventures as he tries to woo a wealthy widow named Madame de Pompadour (Fabrice Luchini) while also reconnecting with an old flame named Marcolina (Francesca Dellera). As he navigates his complicated love life, Casanova also finds himself caught up in political intrigue and must use his wits and charm to stay ahead of his enemies.
āLe retour de Casanovaā is notable for its lavish production design and costumes, which evoke the opulence and decadence of 18th-century France. Delon delivers a charming and charismatic performance as Casanova, while Luchini and Dellera provide strong support as his love interests. The film is also notable for its light-hearted tone and playful approach to the romantic comedy genre, with director Niermans infusing the story with a sense of whimsy and humor. While not as critically acclaimed as some of Delonās other films, āLe retour de Casanovaā remains an entertaining and enjoyable entry in the actorās filmography.
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La Tulipe noire [The Black Tulip] (Christian-Jaque, 1964)
Alain Delon, Virna Lisi, Adolfo Marsillach, Dawn Addams, Akim Tamiroff, Laura Valenzuela, George Rigaud, Francis Blanche, JosƩ Jaspe, Robert Manuel
āThe Black Tulipā is a French adventure film released in 1964, directed by Christian-Jaque and starring Alain Delon, Virna Lisi, and Dawn Addams. The film is based on the novel of the same name by Alexandre Dumas. The movie is set in the Netherlands during the 17th century, and tells the story of two brothers, Cornelius (Alain Delon) and Johan de Witt, who are both passionate about horticulture. When the two brothers develop a new breed of black tulip, they enter a competition to win a prize offered by the city council. However, their political enemies, led by the corrupt nobleman Isaac Boxtel (George Rigaud), conspire to steal their invention and claim it as their own. The de Witt brothers are then falsely accused of plotting against the government, and they are forced to go into hiding to avoid being executed.
āBlack Tulipā is a visually stunning film with a lush and vivid portrayal of the Dutch countryside. The movieās themes of betrayal, intrigue, and political corruption are a hallmark of Dumasā work, and the film does justice to the original novel. Alain Delon delivers a solid performance as Cornelius, bringing depth and emotional resonance to the character. Overall, āBlack Tulipā is an engaging and thrilling adventure film that is sure to delight fans of Alexandre Dumasā work.
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Alain Delon @ Top-70 [kinopoisk]
Š Š¾ŠŗŠŗŠ¾ Šø ŠµŠ³Š¾ Š±ŃŠ°ŃŃŃ / Rocco e i suoi fratelli, 1960
ŠŠ²Š¾Šµ Š² Š³Š¾ŃŠ¾Š“Šµ / Deux hommes dans la ville, 1973
ŠŠ°ŃŠ¼ŠµŠ½ŠøŠµ / L'eclisse, 1962
Š”Š°Š¼ŃŃŠ°Š¹ / Le samouraĆÆ, 1967
ŠŃŠ°ŃŠ½ŃŠ¹ ŠŗŃŃŠ³ / Le cercle rouge, 1970
ŠŠ° ŃŃŠŗŠ¾Š¼ ŃŠ¾Š»Š½ŃŠµ / Plein soleil, 1960
ŠŃŠŗŠ°ŃŠµŠ»Šø ŠæŃŠøŠŗŠ»ŃŃŠµŠ½ŠøŠ¹ / Les aventuriers, 1967
ŠŃŃŠ²Š¾Š» Šø Š“ŠµŃŃŃŃ Š·Š°ŠæŠ¾Š²ŠµŠ“ŠµŠ¹ / Le Diable et les Dix Commandements, 1962
ŠŠ¾ŃŃŠ¾ / Zorro, 1975
ŠŃŠ¾ŃŠ°Š¹, Š“ŃŃŠ³ / Adieu l'ami, 1968
ŠŠµŠ¾ŠæŠ°ŃŠ“ / Il gattopardo, 1963
ŠŠµŃŠ²Š°Ń Š½Š¾ŃŃ ŠæŠ¾ŠŗŠ¾Ń / La prima notte di quiete, 1972
ŠŠµŠ»Š¾Š“ŠøŃ ŠøŠ· ŠæŠ¾Š“Š²Š°Š»Š° / MĆ©lodie en sous-sol, 1963
ŠŃŠ°ŃŠ½Š¾Šµ ŃŠ¾Š»Š½ŃŠµ / Soleil rouge, 1971
ŠŃŃŠµ ŠŠ»ŃŠ¹Š½ / Mr. Klein, 1976
Š„ŠøŃŠ½ŠøŠŗŠø / Les fĆ©lins, 1964
ŠŠ°ŃŃŠµŠ¹Š½ / La piscine, 1969
Š”ŠøŃŠøŠ»ŠøŠ¹ŃŠŗŠøŠ¹ ŠŗŠ»Š°Š½ / Le clan des Siciliens, 1969
Š¢ŠµŠ³ŠµŃŠ°Š½-43 / 1980
Š§ŠµŃŠ½ŃŠ¹ ŃŃŠ»ŃŠæŠ°Š½ / La Tulipe Noire, 1963
ŠŃŠøŃŃŠøŠ½Š° / Christine, 1958
ŠŠ“Š¾Š²Š° ŠŃŠ“ŠµŃ / La veuve Couderc, 1971
Š”Š¼ŠµŃŃŃ Š½ŠµŠ³Š¾Š“ŃŃ / Mort d'un pourri, 1977
Š”ŠæŠµŃŠ°ŃŠøŠ¹ ŃŠµŠ»Š¾Š²ŠµŠŗ / L'homme pressĆ©, 1977
ŠŠ¾ŃŃŠ°Š»ŠøŠ½Š¾ / Borsalino, 1970
Š¢ŃŠø ŃŠ°Š³Š° Š² Š±ŃŠµŠ“Ń / Histoires extraordinaires, 1968
ŠŠ°ŃŠ° ŠøŃŃŠ¾ŃŠøŃ / Notre histoire, 1984
Š”Š»Š°Š±ŃŠµ Š¶ŠµŠ½ŃŠøŠ½Ń / Faibles femmes, 1959
ŠŠ° ŃŠŗŃŃŃ ŠæŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠ¾Š³Š¾ / Pour la peau d'un flic, 1981
ŠŃŠ±Š¾Š²Ń Ń Š¼Š¾ŃŃ / L'amour Ć la mer, 1965
ŠŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠ°Ń ŠøŃŃŠ¾ŃŠøŃ / Flic Story, 1975
Š¢ŃŠ¾ŠøŃ Š½ŃŠ¶Š½Š¾ ŃŠ±ŃŠ°ŃŃ / 3 hommes Ć abattre, 1980
ŠŠµŃŠŗŃŠ¾ŃŠøŠ¼ŃŠ¹ / Le battant, 1983
ŠŠµŠæŠ¾ŠŗŠ¾ŃŠµŠ½Š½ŃŠ¹ / L'insoumis, 1964
ŠŠøŠ»-Š±ŃŠ» Š²Š¾Ń / Once a Thief, 1965
ŠŃŃŠæŠ½ŃŠ¹ ŠŗŠ°Š»ŠøŠ±Ń / Tony Arzenta (Big Guns), 1973
ŠŠ°Šŗ Ń Š¾ŃŠ¾ŃŠ¾ Š¶ŠøŃŃ / Che gioia vivere, 1961
ŠŠµŃ / Le chien, 1962
Š”ŠŗŠ¾ŃŠæŠøŠ¾Š½ / Scorpio, 1973
ŠŠµŠ»ŃŃŠ¹ ŃŠ¾Š»Š»Ń-ŃŠ¾Š¹Ń / The Yellow Rolls-Royce, 1964
ŠŠ¾Š“Š¾Š·ŃŠµŠ½ŠøŠµ / Les granges brĆ»lĆ©es, 1973
Š”Š»Š¾Š²Š¾ ŠæŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠ¾Š³Š¾ / Parole de flic, 1985
Š¢ŠµŃ Š°Ń Š·Š° ŃŠµŠŗŠ¾Š¹ / Texas Across the River, 1966
ŠŃŃŠ²Š¾Š»ŃŃŠŗŠø Š²Š°Ń / Diaboliquement vĆ“tre, 1967
ŠŃŃŠ¾ŃŠ¾Š¶Š½Š¾, ŃŠ¼Š¾ŃŃŃŃ Š“ŠµŃŠø / Attention, les enfants regardent, 1978
ŠŠ¾ŃŃŠ°Š»ŠøŠ½Š¾ Šø ŠŗŠ¾Š¼ŠæŠ°Š½ŠøŃ / Borsalino and Co., 1974
ŠŠµ Š±ŃŠ“ŠøŃŠµ ŃŠæŃŃŠµŠ³Š¾ ŠæŠ¾Š»ŠøŃŠµŠ¹ŃŠŗŠ¾Š³Š¾ / Ne rĆ©veillez pas un flic qui dort, 1988
Š¦ŃŠ³Š°Š½ / Le gitan, 1975
ŠŃŠ±Š¾Š²Ń Š”Š²Š°Š½Š° / Un amour de Swann, 1983
ŠŠ¾ŃŠ¾Š³Š° ŃŠŗŠ¾Š»ŃŃŠ¾Š² / Le chemin des Ć©coliers, 1959
ŠŠ¾ŃŠøŃ Š»Šø ŠŠ°ŃŠøŠ¶? / Paris brĆ»le-t-il ?, 1966
ŠŃŠ¾ŠæŠ°Š²ŃŠøŠ¹ Š¾ŃŃŃŠ“ / Lost Command, 1966
ŠØŠ¾Šŗ / Le choc, 1982
ŠŠ¾Š·Š²ŃŠ°ŃŠµŠ½ŠøŠµ ŠŠ°Š·Š°Š½Š¾Š²Ń / Le Retour de Casanova, 1992
ŠŃŠ“Ń ŠŗŃŠ°ŃŠøŠ²Š¾Š¹ Šø Š¼Š¾Š»ŃŠø / Sois belle et tais-toi, 1958
ŠŃŠµŃŃŃŠæŠ»ŠµŠ½ŠøŠµ / Un crime, 1993
ŠŠµŠ“ŃŠ½Š°Ń Š³ŃŃŠ“Ń / Les seins de glace, 1974
ŠŠ°Š½Š“Š° / Le Gang, 1976
ŠŠ¶ŠµŃŃ / Jeff, 1969
ŠŠ½Š°Š¼ŠµŠ½ŠøŃŃŠµ Š»ŃŠ±Š¾Š²Š½ŃŠµ ŠøŃŃŠ¾ŃŠøŠø / Amours cĆ©lĆØbres, 1961
ŠŠ¾ŠµŠ½Š²ŃŠ°Ń / Le toubib, 1979
ŠŃŠ“Š»Šø / Madly, 1970
Š Š°ŃŠ° Ā«Š³Š¾ŃŠæŠ¾Š“Ā» / La race des Ā«seigneursĀ», 1974
ŠŠµŃŠµŠ½ŠøŠµ ŃŠ¾ŠŗŠ¾Š¼ / Traitement de choc, 1972
ŠŃŠ¼Š°Š³ŠµŠ“Š¾Š½ / Armaguedon, 1977
ŠŠµŠ²ŃŃŠŗŠ° Š½Š° Š¼Š¾ŃŠ¾ŃŠøŠŗŠ»Šµ / The Girl on a Motorcycle, 1968
ŠŠ¾ŃŠøŃŠµ, Š±Š°ŃŃ! / Doucement les basses, 1971
Š£Š±ŠøŠ¹ŃŃŠ²Š¾ Š¢ŃŠ¾ŃŠŗŠ¾Š³Š¾ / The Assassination of Trotsky, 1972
ŠŠ¾Š½ŠŗŠ¾ŃŠ“: ŠŃŃŠ¾ŠæŠ¾ŃŃ-79 / The Concorde: Airport '79, 1979
ŠŠ¾Š³Š“Š° Š²Š¼ŠµŃŠøŠ²Š°ŠµŃŃŃ Š¶ŠµŠ½ŃŠøŠ½Š° / Quand la femme s'en mĆŖle, 1957
...
Š Š°ŠæŃŠµŠ»Šµ 1972 ŠøŃŠ°Š»ŃŃŠ½ŃŠŗŠ°Ń ŠæŠµŠ²ŠøŃŠ° ŠŠøŠ½a Šø Š°ŠŗŃŃŃ ŠŠ»ŃŠ±ŠµŃŃŠ¾ ŠŃŠæŠ¾ (Mina & Alberto Lupo) Š²ŃŃŠ»Šø Š½Š° ŃŃŠµŠ½Ń Ń ŠæŠµŃŠ½ŠµŠ¹ - Parole, Parole: www.youtube.com/watch?v=O_GhN8wAAPI, Š¾Š½Š° ŃŃŠ°Š·Ń Š¶Šµ ŃŃŠ°Š»Š° Ń ŠøŃŠ¾Š¼ Šø Š·Š°Š·Š²ŃŃŠ°Š»Š° ŠæŠ¾ Š²ŃŠµŠ¹ ŠŠ²ŃŠ¾ŠæŠµ.
ŠŃŠŗŠ¾ŃŠµ ŠŠøŠ½a Š²ŃŠæŃŃŃŠøŠ»Š° ŠæŠ°ŃŠ¾Š“ŠøŃ, ŠŗŠ¾ŃŠ¾ŃŃŃ Š¾Š½Š° ŠøŃŠæŠ¾Š»Š½ŃŠ»Š° ŃŠ¶Šµ Ń ŠŠ“ŃŠøŠ°Š½Š¾ Š§ŠµŠ»ŠµŠ½ŃŠ°Š½Š¾. Adriano Celentano Mina e Alberto Lupo Parole parole Teatro 10 Puntata del 07.05.1972: www.youtube.com/watch?v=fOhuw7Qadrs
ŠŃŠµŠ½ŃŃ ŃŠ¾Š³Š¾ Š¶Šµ 1972 Š³Š¾Š“Š° ŠŠ°Š»ŠøŠ“Š° (ŃŃŠ°Š½ŃŃŠ·ŃŠŗŠ°Ń ŠæŠµŠ²ŠøŃŠ° Šø Š°ŠŗŃŃŠøŃŠ° ŠøŃŠ°Š»ŃŃŠ½ŃŠŗŠ¾Š³Š¾ ŠæŃŠ¾ŠøŃŃ Š¾Š¶Š“ŠµŠ½ŠøŃ - Iolanda Cristina Gigliotti) Šø ŠŠ»ŠµŠ½ ŠŠµŠ»Š¾Š½ Š²ŃŃŃŠµŃŠøŠ»ŠøŃŃ Š² ŃŃŃŠ“ŠøŠø (Š² Š“Š°Š»ŃŠŗŠ¾Š¹ ŃŠ½Š¾ŃŃŠø Š¼ŠµŠ¶Š“Ń Š°ŠŗŃŃŃŠ¾Š¼ Šø ŠæŠµŠ²ŠøŃŠµŠ¹ Š±ŃŠ» ŃŠ¾Š¼Š°Š½, Š¾ ŠŗŠ¾ŃŠ¾ŃŠ¾Š¼ Š½Šµ Š·Š½Š°Š» Š“Š°Š¶Šµ Š±ŃŠ°Ń ŠæŠµŠ²ŠøŃŃ), ŃŃŠ¾Š±Ń Š·Š°ŠæŠøŃŠ°ŃŃ ŃŃŠ°Š½ŃŃŠ·ŃŠŗŠøŠ¹ Š²Š°ŃŠøŠ°Š½Ń Ń ŠøŃŠ° Alain Delon e Dalida - Paroles Paroles: www.youtube.com/watch?v=88JHI7IEHvc. ŠŠ°Šŗ ŃŃŠ¾ Š½ŠµŃŠµŠ“ŠŗŠ¾ Š±ŃŠ²Š°ŠµŃ, ŠŗŠ¾ŠæŠøŃ Š¾ŠŗŠ°Š·Š°Š»Š°ŃŃ ŠŗŃŠ“Š° ŃŃŠæŠµŃŠ½ŠµŠµ Š¾ŃŠøŠ³ŠøŠ½Š°Š»Š°, Š² Š½Š°ŃŠø Š“Š½Šø Š²ŃŠµ Š·Š½Š°ŃŃ ŃŃŃ ŠæŠµŃŠ½Ń ŠøŠ¼ŠµŠ½Š½Š¾ ŠæŠ¾ Š“ŃŃŃŃ Š±ŃŠ²ŃŠøŃ Š»ŃŠ±Š¾Š²Š½ŠøŠŗŠ¾Š² ŠŠ°Š»ŠøŠ“Ń Šø Š.ŠŠµŠ»Š¾Š½Š°.
Š Š“ŠµŠŗŠ°Š±ŃŠµ 1996 ŠŠµŠ»Š¾Š½ ŠøŃŠæŠ¾Š»Š½ŠøŠ» ŃŃŠ¾Ń Ń ŠøŃ Ń Š”ŠµŠ»ŠøŠ½ ŠŠøŠ¾Š½ (CĆ©line Dion & Alain Delon - Paroles, paroles - Reprise de Dalida).
Paroles, Paroles (Š¾ŃŠøŠ³ŠøŠ½Š°Š» Dalida feat. Alain Delon)
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š° (ŠæŠµŃŠµŠ²Š¾Š“ Mickushka ŠøŠ· ŠŠ¾ŃŠŗŠ²Ń)
C'est Ć©trange,
Š¢Š°Šŗ ŃŃŃŠ°Š½Š½Š¾...
Je n'sais pas ce qui m'arrive ce soir,
Š§ŃŠ¾ ŃŠ¾ Š¼Š½Š¾Š¹ ŃŠ°ŠŗŠ¾Šµ ŃŃŠøŠ¼ Š²ŠµŃŠµŃŠ¾Š¼?..
Je te regarde comme pour la premiĆØre fois.
ŠÆ Š²ŠøŠ¶Ń ŃŠµŠ±Ń ŠŗŠ°Šŗ Š±ŃŠ“ŃŠ¾ Š±Ń Š² ŠæŠµŃŠ²ŃŠ¹ ŃŠ°Š·...
Encore des mots toujours des mots
ŠŠæŃŃŃ ŃŠ»Š¾Š²Š°, Š¾Š“Š½Šø Šø ŃŠµ Š¶Šµ,
Les mĆŖmes mots
Š”Š½Š¾Š²Š° ŃŠ»Š¾Š²Š° Š“Š° ŃŠ»Š¾Š²Š°...
Je n'sais plus comment te dire,
ŠÆ Š½Šµ Š·Š½Š°Ń, ŠŗŠ°Šŗ ŃŠŗŠ°Š·Š°ŃŃ ŃŠµŠ±Šµ...
Rien que des mots
Š Š½ŠøŃŠµŠ³Š¾ ŠŗŃŠ¾Š¼Šµ ŃŠ»Š¾Š²...
Mais tu es cette belle histoire d'amour...
Š¢Ń ā ŃŠ°Š¼Š°Ń ŠŗŃŠ°ŃŠøŠ²Š°Ń Š»ŃŠ±Š¾Š²Š½Š°Ń ŠøŃŃŠ¾ŃŠøŃ,
que je ne cesserai jamais de lire.
ŠŠ¾ŃŠ¾ŃŃŃ Ń Š½ŠøŠŗŠ¾Š³Š“Š° Š½Šµ ŠæŠµŃŠµŃŃŠ°Š½Ń ŃŠøŃŠ°ŃŃ...
Des mots faciles des mots fragiles
ŠŃŠ³ŠŗŠøŠµ, Ń ŃŃŠæŠŗŠøŠµ ŃŠ»Š¾Š²Š°...
C'Ć©tait trop beau
Š”Š»ŠøŃŠŗŠ¾Š¼ ŠæŃŠµŠŗŃŠ°ŃŠ½ŃŠµ...
Tu es d'hier et de demain
Š¢Ń ā Š¼Š¾Ń ŠæŃŠ¾ŃŠ»Š¾Šµ Šø Š¼Š¾Ń Š³ŃŃŠ“ŃŃŠµŠµ...
Bien trop beau
Š”Š»ŠøŃŠŗŠ¾Š¼ ŠæŃŠµŠŗŃŠ°ŃŠ½ŃŠµ...
De toujours ma seule vƩritƩ.
Š¢Ń ā Š¼Š¾Ń Š²ŠµŃŠ½Š°Ń ŠøŃŃŠøŠ½Š°...
Mais c'est fini le temps des rĆŖves
ŠŠ¾ Š²ŃŠµŠ¼Ń Š¼ŠµŃŃŠ°Š½ŠøŠ¹ ŠæŠ¾Š“Ń Š¾Š“ŠøŃ Šŗ ŠŗŠ¾Š½ŃŃ,
Les souvenirs se fanent aussi
Š Š²Š¾ŃŠæŠ¾Š¼ŠøŠ½Š°Š½ŠøŃ ŠøŃŃŠµŠ·Š°ŃŃ,
quand on les oublie
ŠŠ¾Š³Š“Š° Š¾ Š½ŠøŃ Š·Š°Š±ŃŠ²Š°ŃŃ.
Tu es comme le vent qui fait chanter les violons
Š¢Ń ā Š²ŠµŃŠµŃ, ŠøŠ³ŃŠ°ŃŃŠøŠ¹ Š½Š° ŃŃŃŃŠ½Š°Ń ŃŠŗŃŠøŠæŠŗŠø
et emporte au loin le parfum des roses.
Š ŃŠ½Š¾ŃŃŃŠøŠ¹ Š²Š“Š°Š»Ń Š°ŃŠ¾Š¼Š°Ń ŃŠ¾Š·...
Caramels, bonbons et chocolats
ŠŃŠµ ŃŃŠø ŠŗŠ°ŃŠ°Š¼ŠµŠ»ŃŠŗŠø, ŠŗŠ¾Š½ŃŠµŃŠŗŠø, ŃŠ¾ŠŗŠ¾Š»Š°Š“ŠŗŠø...
Par moments, je ne te comprends pas.
ŠŠ½Š¾Š³Š“Š° Ń ŃŠµŠ±Ń Š½Šµ ŠæŠ¾Š½ŠøŠ¼Š°Ń!..
Merci, pas pour moi
ŠŠ»Š°Š³Š¾Š“Š°ŃŃ, Š½Š¾ ŃŃŠ¾ Š½Šµ ŠæŠ¾ Š¼Š½Šµ,
Mais tu peux bien les offrir une autre
ŠŠ¾Š“Š°ŃŠø ŠøŃ ŃŠ¾Š¹,
qui aime le vent et le parfum des roses
ŠŠ¾ŃŠ¾ŃŠ¾Š¹ Š½ŃŠ°Š²ŃŃŃŃ Š²ŠµŃŠµŃ Šø Š°ŃŠ¾Š¼Š°Ń ŃŠ¾Š·,
Moi, les mots tendres enrobƩs de douceur
Š Š»ŠøŃŠ½Š¾ Š“Š»Ń Š¼ŠµŠ½Ń Š²ŃŠµ ŃŃŠø ŃŠ»Š¾Š²Š°, Š¾ŠŗŃŃŠ°Š½Š½ŃŠµ Š½ŠµŠ¶Š½Š¾ŃŃŃŃ,
se posent sur ma bouche mais jamais sur mon cÅur
Š£ŃŠ»Š°Š¶Š“Š°ŃŃ Š¼Š¾Š¹ ŃŠ»ŃŃ , Š½Š¾ Š½Šµ ŃŃŠ¾Š³Š°ŃŃ ŃŠµŃŠ“ŃŠµ.
Une parole encore.
ŠŃŃ Š¾Š“Š½Š¾ ŃŠ»Š¾Š²Š¾...
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Ecoute-moi.
ŠŠ° ŠæŠ¾ŃŠ»ŃŃŠ°Š¹ Š¶Šµ Š¼ŠµŠ½Ń!
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Je t'en prie.
Š£Š¼Š¾Š»ŃŃ!
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Je te jure.
ŠŠ»ŃŠ½ŃŃŃ!
Parole, parole, parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
encore des paroles que tu sĆØmes au vent
ŠŠæŃŃŃ ŃŃ Š±ŃŠ¾ŃŠ°ŠµŃŃ ŃŠ»Š¾Š²Š° Š½Š° Š²ŠµŃŠµŃ...
Voil? mon destin te parler....
ŠŃŠ¾ Š¼Š¾Ń ŃŃŠ“ŃŠ±Š° ā Š³Š¾Š²Š¾ŃŠøŃŃ Š¾ ŃŠµŠ±Šµ,
te parler comme la premiĆØre fois.
ŠŠ¾Š²Š¾ŃŠøŃŃ Š¾ ŃŠµŠ±Šµ Š²ŃŠµŠ³Š“Š°, ŃŠ»Š¾Š²Š½Š¾ Š² ŠæŠµŃŠ²ŃŠ¹ ŃŠ°Š·...
Encore des mots toujours des mots
ŠŃŃ ŃŠµ Š¶Šµ ŃŠ»Š¾Š²Š°, Š¾ŠæŃŃŃ ŃŠ»Š¾Š²Š°,
les mĆŖmes mots
Š¢Šµ Š¶Šµ ŃŠ°Š¼ŃŠµ ŃŠ»Š¾Š²Š°...
Comme j'aimerais que tu me comprennes.
ŠŠ°Šŗ Š±Ń Ń Ń Š¾ŃŠµŠ», ŃŃŠ¾ ŃŃ ŠæŠ¾Š½ŃŠ»Š° Š¼ŠµŠ½Ń...
Rien que des mots
ŠŠøŃŠµŠ³Š¾, ŠŗŃŠ¾Š¼Šµ ŃŠ»Š¾Š²...
Que tu m'Ć©coutes au moins une fois.
ŠŃ Ń Š¾ŃŃ ŃŠ°Š· Š²ŃŃŠ»ŃŃŠ°Š¹ Š¶Šµ Š¼ŠµŠ½Ń!
Des mots magiques des mots tactiques
Š§Š°ŃŃŃŃŠøŠµ, ŃŠ¾Š½ŠŗŠ¾ ŠæŃŠ¾ŃŃŠøŃŠ°Š½Š½ŃŠµ ŃŠµŃŠø...
qui sonnent faux
ŠŠ°ŠŗŠøŠµ Š¶Šµ Š¾Š½Šø ŃŠ°Š»ŃŃŠøŠ²ŃŠµ!..
Tu es mon rĆŖve dĆ©fendu.
Š¢Ń ā Š¼Š¾Ń ŃŠ¾ŠŗŃŠ¾Š²ŠµŠ½Š½Š°Ń Š¼ŠµŃŃŠ°...
Oui, tellement faux
ŠŠ°, ŠŗŠ°ŠŗŠ°Ń ŃŠ°Š»ŃŃ...
Mon seul tourment et mon unique espƩrance.
Š¢Ń ā Š¼Š¾Š¹ ŃŃŠ¶ŠŗŠøŠ¹ ŠŗŃŠµŃŃ Šø Š¼Š¾Ń Š½Š°Š“ŠµŠ¶Š“Š°...
Rien ne t'arrĆŖte quand tu commences
Š¢ŠµŠ±Ń Š½Šµ Š¾ŃŃŠ°Š½Š¾Š²ŠøŃŃ, ŠµŃŠ»Šø Š½Š°ŃŠ½ŃŃŃ.
Si tu savais comme j'ai envie
ŠŠ½Š°Š» Š±Ń ŃŃ, ŠŗŠ°Šŗ Š¼Š½Šµ Ń Š¾ŃŠµŃŃŃ ŠøŠ½Š¾Š¹ ŃŠ°Š·
d'un peu de silence
ŠŠ¾Š±ŃŃŃ Š² ŃŠøŃŠøŠ½Šµ...
Tu es pour moi la seule musique...
Š¢Ń ā Š¼ŃŠ·ŃŠŗŠ°, Š·Š°ŃŃŠ°Š²Š»ŃŃŃŠ°Ń Š·Š²ŃŠ·Š“Ń ŃŠ°Š½ŃŠµŠ²Š°ŃŃ
qui fit danser les Ć©toiles sur les dunes
ŠŠ° ŠæŠµŃŃŠ°Š½ŃŃ Š“ŃŠ½Š°Ń ...
Caramels, bonbons et chocolats
ŠŠ°ŃŠ°Š¼ŠµŠ»ŃŠŗŠø, ŠŗŠ¾Š½ŃŠµŃŠŗŠø, ŃŠ¾ŠŗŠ¾Š»Š°Š“ŠŗŠø...
Si tu n'existais pas dƩj? je t'inventerais.
ŠŃŠ»Šø Š±Ń ŃŠµŠ±Ń Š½Šµ ŃŃŃŠµŃŃŠ²Š¾Š²Š°Š»Š¾, Ń Š±Ń Š²ŃŠ“ŃŠ¼Š°Š» ŃŠµŠ±Ń...
Merci, pas pour moi
ŠŠ»Š°Š³Š¾Š“Š°ŃŃ, Š½Š¾ ŃŃŠ¾ Š½Šµ ŠæŠ¾ Š¼Š½Šµ,
Mais tu peux bien les offrir une autre
ŠŠ¾Š¶ŠµŃŃ ŠæŠ¾Š“Š°ŃŠøŃŃ ŠøŃ ŃŠ¾Š¹,
qui aime les Ć©toiles sur les dunes
ŠŠ¾ŃŠ¾ŃŠ¾Š¹ Š½ŃŠ°Š²ŃŃŃŃ Š·Š²ŃŠ·Š“Ń Šø Š“ŃŠ½Ń...
Moi, les mots tendres enrobƩs de douceur
Š Š»ŠøŃŠ½Š¾ Š“Š»Ń Š¼ŠµŠ½Ń Š²ŃŠµ ŃŃŠø ŃŠ»Š¾Š²Š°, Š¾ŠŗŃŃŠ°Š½Š½ŃŠµ Š½ŠµŠ¶Š½Š¾ŃŃŃŃ,
se posent sur ma bouche mais jamais sur mon cÅur
Š£ŃŠ»Š°Š¶Š“Š°ŃŃ Š¼Š¾Š¹ ŃŠ»ŃŃ , Š½Š¾ Š½Šµ ŃŃŠ¾Š³Š°ŃŃ ŃŠµŃŠ“ŃŠµ.
Encore un mot juste une parole
ŠŃŃ Š¾Š“Š½Š¾ ŃŠ»Š¾Š²Š¾...
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Ecoute-moi.
ŠŠ° ŠæŠ¾ŃŠ»ŃŃŠ°Š¹ Š¶Šµ Š¼ŠµŠ½Ń!
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Je t'en prie.
Š£Š¼Š¾Š»ŃŃ!
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Je te jure.
ŠŠ»ŃŠ½ŃŃŃ!
Parole, parole, parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
encore des paroles que tu sĆØmes au vent
ŠŠæŃŃŃ ŃŃ Š±ŃŠ¾ŃŠ°ŠµŃŃ ŃŠ»Š¾Š²Š° Š½Š° Š²ŠµŃŠµŃ...
Que tu es belle!
Š¢Ń ŃŠ°Šŗ ŠæŃŠµŠŗŃŠ°ŃŠ½Š°"
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Que tu est belle!
Š¢Ń ŃŠ°Šŗ ŠæŃŠµŠŗŃŠ°ŃŠ½Š°!
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Que tu es belle!
Š¢Ń ŃŠ°Šŗ ŠæŃŠµŠŗŃŠ°ŃŠ½Š°!
Parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Que tu es belle!
Š¢Ń ŃŠ°Šŗ ŠæŃŠµŠŗŃŠ°ŃŠ½Š°!
Parole, parole, parole, parole, parole
Š”Š»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°, ŃŠ»Š¾Š²Š°...
Encore des paroles que tu sĆØmes au vent
ŠŠæŃŃŃ ŃŃ Š±ŃŠ¾ŃŠ°ŠµŃŃ ŃŠ»Š¾Š²Š° Š½Š° Š²ŠµŃŠµŃ...
#alaindelon #delon #france #films
Meit Kamdar Avlanii was born in Mumbai in a Gujarati business family that had roots in Yemen. Textiles and cross-border trading was the mainstay of their business. Meit joined the family business at the age of 21 years in Uganda. After a few years, he faced existential angst when he asked himself if he was happy doing what he did and began contemplating on the bigger purpose in his life. Hereās what he revealed about his exciting journey.
How It All Began
The seed of designing was subconsciously planted in my mind at a very young age. My curiosity was aroused when I accompanied my mother one day to our family jeweller in Bandra. She wanted a special bespoke design and I watched wide-eyed as the jeweller spent time sketching, and during subsequent visits, saw the sketch turn into a captivating piece of jewellery. Then, I was oblivious that this instance would play a huge role in the next chapter of my life ā¦ but in hindsight, that steered me to my present vocation.
Cut to 2014, I discovered my designing abilities by chance when trying my hand at Photoshop. I had designed a few jewellery pieces for a girl who I wanted to marry. Unfortunately, the relationship did not progress further.
However, our family jeweller was impressed with the designs and with my permission submitted it for a jewellery design contest. The design was shortlisted and won an award.
Existential Crisis
Upset with the way things turned out in my personal life, I had a strong urge to find the purpose of my life. I sought advice from my family and started reading books on spirituality and got hooked on Bhagvad Gita. Thatās when I got clarity. The words of wisdom that brought about a change in my thinking and have stayed with me ever since: Choose your work that is your passion, make that passion your lifeās purpose and you will never have to work even for a day in your life.
While I accidentally discovered my latent design skills, I decided to hone my skills. I moved to GIA, London to study more about diamonds and gemstones, and post that I acquired a Masters degree in Luxury Brand Management from Regents University.
At Regents, I met Dr. Eric Chan, professor and life coach, who changed my life completely. He helped me identify my strengths, weaknesses and helped me find my calling in life.
I had made up my mind to pursue a career in jewellery, and returned to India and joined the Indian Academy of Jewelry and Design (IAJD).
Birth of the Brand
Armed with knowledge on the manufacturing side, I opened a retail outlet at an upscale location in Kala Ghoda, Mumbai, in January 2020.
Within three months all activities came to a standstill as the entire country was under a lockdown. I was stressed and decided to permanently close down the store.
Work from home became a way of life, and from my premier residential apartment in Lower Parel, Mumbai, I started reaching out to potential consumers for private viewing. I sent out personal invitations to each of the 300-plus residents and their relatives living within a radius of two kilometres. To my good luck, each of the invitees who attended the viewing, went home buying a piece of my jewellery. This boosted my confidence and in order to widen the customer base and generate volumes, I invested in an atelier on the same floor where I live.
To know more: gjepc.org/solitaire/meit-kamdaravlaniis-high-art/
Of course, I couldn't just sit and do nothing.
I had my intern do this. Don't you wish you were my intern?
UPDATE: It disappeared after a week. Was it stolen by an adoring fan or removed by a humorless employee?
325/365
Today was a day filled with existential crisis. Mass Effect has gotten so deep into our heads that we have a very hard time turning it off, even after we turn it off. With tonight being a work night, it made a lot of sense to plan to switch from Mass Effect after dinner to a calming soupcon of 90210. You know, so we could fall asleep tonight. Buuuuuut... the galaxy! It needs to be saved! And there's been so much adventure and tragedy and seriously, we need to know how this is all going to end! (Also, we need to finish up so we can start our next playthrough. Garrus, we're going to save you this time!) We've come way too far now to stop.
(Oh, and our June edition of Maple Hoo In Moving Pictures is available for viewing now.)