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Mon père partait sans cesse et revenait de moins en moins. Il était originaire de Tintagel, en Cornouailles, un endroit plein de fées et de magiciens. Il affirmait être le neveu d’une sorcière de Man qui avait un chat roux, mais il disait un tas de choses quand il se perdait dans ses bouteilles.
J’ai étudié à l’école hébraïque de La Valette et puis à Cordoue avec le rabbin Ezra Toledano, c’est lui qui m’a initié à la Torah et qui m’a raconté d’autres histoires secrètes.
Quoi qu’il en soit, ce que je me rappelle le mieux c’est le jour où je suis parti de Malte en m’embarquant sur le Golden Vanity, un magnifique trois mâts ; depuis lors, j’ai toujours navigué de par le monde.
J’ai connu Raspoutine, Jack London et bien d’autres, j’ai appris à danser le tango à Buenos Aires, aux Antilles et au Brésil j’ai connu Esmeralda et les rites vaudou. Et puis il y a eu les Indes, la Chine, les îles des Caraïbes entre moments de paresse dans les vérandas et fusillades, et les îles du Pacifique avec Escondida, la plus étrange de toutes, parmi moines et corsaires. J’ai vu un train chargé d’or s’engloutir dans un lac glacé de Mongolie, j’ai partagé les silences du désert avec un guerrier, le vert paysage et les larmes avec une très belle fée irlandaise, j’ai cherché des joyaux et des rêves impossibles au long des canaux et sur les toits de Venise.
Je ne suis pas un héros, j’aime voyager et je n’aime pas les règles, pourtant il en est une que je respecte, celle de ne jamais trahir mes amis.
Je suis parti à la recherche de bien des trésors sans jamais en trouver un seul, mais je continuerai sans relâche, vous pouvez y compter, toujours de l’avant…
My father left constantly and came back less and less. He was from Tintagel, Cornwall, a place full of fairies and magicians. He claimed to be the nephew of a Man witch who had a red cat, but he said a lot of things when he got lost in his bottles. I studied at the Hebrew School of Valletta and then in Cordoba with Rabbi Ezra Toledano, it is he who initiated me to the Torah and who told me other secret stories. Anyway, what I remember best is the day I left Malta embarking on the Golden Vanity, a magnificent three masts; Since then, I have been sailing all over the world.
I knew Rasputin, Jack London and many others, I learned to dance tango in Buenos Aires, the West Indies and Brazil I knew Esmeralda and voodoo rites. And then there were the Indies, China, the Caribbean islands between idleness in the verandas and shootings, and the Pacific Islands with Escondida, the strangest of all, among monks and corsairs. I saw a train laden with gold swallowing up in a frozen lake in Mongolia, I shared the silences of the desert with a warrior, the green landscape and tears with a very beautiful Irish fairy, I looked for jewels and impossible dreams along the canals and on the roofs of Venice.
I am not a hero, I like to travel and I do not like the rules, yet there is one that I respect, that of never betraying my friends. I went in search of many treasures without ever finding one, but I will continue relentlessly, you can count on it, always forward ...
Spanish postcard, no. 2775. Photo: 20th Century Fox. Edmund Purdom in The Egyptian (Michael Curtiz, 1954).
Darkly handsome Edmund Purdom (1924 – 2009) was a British character actor, who wore togas and sandals for a great deal of his career. In Hollywood, he replaced Marlon Brando in The Egyptian (1954) and Mario Lanza in The Student Prince (1954) and in Italy, he starred in countless Peplums and other genre films.
Edmund Anthony Cutlar Purdom was born in Welwyn Garden City, England in 1924. His father was an artist and London drama critic Charles Benjamin Purdom. Edmund was educated by Jesuits at St Ignatius College and by Benedictines at Downside School. He began his acting career in 1945 by joining the Northampton Repertory Company, appearing in productions which included 'Romeo and Juliet' and Molière's 'The Imaginary Invalid'. It was followed by two years of military service where he joined the Army Pool of Artists. He made his screen debut in the BBC TV film Carissima (1950), followed by a BBC TV adaptation of William Shakespeare’s Julius Caesar (Leonard Brett, 1951). He then joined the Shakespeare Memorial Theatre at Stratford-on-Avon. In 1951-1952, Purdom was part of the company that Laurence Olivier and Vivien Leigh took to Broadway for alternating performances of Shakespeare's 'Antony and Cleopatra' and George Bernard Shaw's 'Caesar and Cleopatra'. He tested at Twentieth Century-Fox for the leading male role in My Cousin Rachel (1952), but Richard Burton got the part. The studio cast him instead as ship's officer Lightoller in Titanic (Jean Negulesco, 1953). His performance caught the attention of MGM, and he got a small role in the classic Julius Caesar (Joseph L. Mankiewicz, 1953) starring Marlon Brando. Purdome played Strato, the young servant of Brutus (James Mason), who holds the sword out for his master to run on to at the climax. Then he was cast in the title role opposite Jean Simmons in the epic The Egyptian (Michael Curtiz, 1954), 20th Century-Fox's most lavish production of the year. He played a brilliant physician in the service of the Pharaoh in 18th-dynasty Egypt. Ronald Bergan in The Guardian: “Purdom's reputation as a surrogate is underlined by the fact that he got his first chance of stardom when he replaced Marlon Brando in The Egyptian (1954) after Brando wisely cried off, preferring to play Napoleon in Desirée instead. (...) Purdom's striking dark good looks and dimpled cheeks made up for his rather wooden personality and inability to pronounce his 'r's, but not even Brando could have known how to react to dialogue such as: ‘You have bold eyes for the son of a cheesemaker.’”
Edmund Purdom then played the leading role opposite Ann Blyth in the MGM musical The Student Prince (1954), a part originally intended for Mario Lanza. According to Wikipedia, Lanza’s disagreement with director Curtis Bernhardt over how a certain song was to be sung led to his dismissal by MGM. (Ronald Bergan adds: “Mario Lanza's drugs-alcohol-weight problems got the better of him”). The film was subsequently directed by Richard Thorpe and Purdom lip-synched to Lanza's singing voice. MGM gave the young unknown a considerable build-up. In the same year, he appeared in another MGM musical, Athena (1954, Richard Thorpe), opposite Jane Powell and Debbie Reynolds. To, Vallance cites in The Independent Debbie Reynolds saying: “The only relief on the set was the action going on off camera. Linda Christian, who was Mrs Tyrone Power at the time, was also in the picture. She was a temptress, and right before our eyes, we saw the tempted, who was Edmund Purdom. They would go to his little trailer, close the door and be gone for quite a while.” Christian later divorced Power and married Purdom. He then played the title role opposite superstar Lana Turner in the biblical epic The Prodigal (Richard Thorpe, 1955), MGM's most lavish production of 1955. It was a huge flop. He partnered with Ann Blyth again in the swashbuckling CinemaScope adventure film The King's Thief (Robert Z. Leonard, 1955). Purdom's MGM contract was terminated. On television, he starred as Marco del Monte in the swashbuckler series Sword of Freedom (1957-1958, Peter Cotes, Anthony Squire). In 1959 he filmed the crime drama Malaga/Moment of Danger (Laslo Benedek, 1960) in Europe. The American premiere of the film, co-starring Trevor Howard and Dorothy Dandridge was delayed for nearly two years. After that, he did not work in Hollywood anymore except for some cameos, such as in the MGM production The Yellow Rolls-Royce (Anthony Asquith, 1964) in which peer Rex Harrison buys his wife (Jeanne Moreau) the titular limousine, unaware that she will be using the back seat to make love to Purdom.
When his Hollywood career sizzled out, Edmund Purdom went to Italy to star in the crime drama Agguato a Tangeri/Trapped in Tangiers (Riccardo Freda, 1957) with Geneviève Page. He decided to stay in Europe. In Italy, he made the Peplums (sword and sandal epic) Erode il grande/Herod the great (Viktor Tourjansky, 1959) with Sylvia Lopez, I cosacchi/The Cossacks (Viktor Tourjansky, Giorgio Venturini, 1960) opposite John Drew Barrymore, and
Salambò/The Loves of Salammbo (Sergio Grieco, 1960) featuring Jeanne Valérie. In France he played Rasputin in Les nuits de Raspoutine/The Night They Killed Rasputin (Pierre Chenal, 1960) with Gianna Maria Canale. In Austria, he appeared in Das große Wunschkonzert/Big Request Concert (Arthur Maria Rabenalt, 1960) with Carlos Thompson and Linda Christian. In Great Britain, he played with Ian Hendry and Janette Scott in The Beauty Jungle (Val Guest, 1964) about the dangerous world of beauty contests. Another British film was the drama The Comedy Man (Alvin Rakoff, 1964) starring Kenneth More as a struggling actor. He lived in Rome for the rest of his life and continued to work extensively in Italian B-films and on television. His later films include the spaghetti western Crisantemi per un branco di carogne/Chrysanthemums for a Bunch of Swine (Sergio Pastore, 1968), the Horror film Thomas e gli indemoniati/Thomas and the Bewitched (Pupi Avati, 1970) and the thriller Giornata nera per l'ariete/Evil Fingers (Luigi Bazzoni, 1971) starring Franco Nero. He also worked as a voice actor. He dubbed dialogue translated from Italian into English for sales of Italian films in English-speaking countries. During the 1970s and 1980s, he appeared in interesting films like the crime drama L'onorata famiglia/The honourable family (Tonino Ricci, 1974) with Raymond Pellegrin, the TV film Sophia Loren: Her Own Story (Mel Stuart, 1980) in which he convincingly played actor-writer-director Vittorio de Sica, and Don Bosco (Leandro Castellani, 1988) featuring Ben Gazzara. On TV he was seen in The Scarlet and the Black (Jerry London, 1983) starring Gregory Peck, and the mini-series The Winds of War (1983, Dan Curtis) starring Robert Mitchum. In 1984, he directed the Horror mystery Don't Open 'Til Christmas, about a psychopath who slaughters Santas. Purdom also played the leading role of a police inspector. It would be his first and last film direction. He was also very active as a sound engineer for music, recording many classical concerts in Florence and Vienna and he devised a technique for transferring mono (sound) to stereo. He narrated popular short Christian documentaries on the life of Padre Pio, and 7 Signs of Christ's Return. His final film was the adventure film I cavalieri che fecero l'impresa/The Knights of the Quest (Pupi Avati, 2001) starring Raul Bova. Purdom was married four times. His first three wives, all divorced, were actress and ex-ballerina Tita Phillips (1951-1956), the mother of his children; Alicia Darr (1957-1958), and actress Linda Christian (1962-1963); and. In 2000 he married his fourth wife, the photographer Vivienne Purdom. Edmund Purdom died from heart failure in 2009, in Rome. He was 89. His daughter Lilan Purdom worked as a journalist with the French television channel TF1.
Sources: Ronald Bergan (The Guardian), Tom Vallance (The Independent), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by S.E.R.P., Paris, no.86. Photo: Studio Harcourt.
Claude Génia (1913-1979) was a French film and stage actress of Russian origin. She was also a theatre manager. As a film actress her glory years were in the 1940s, with films such as Le Capitan (Robert Vernay 1946).
Claude Génia was born in 1913 in Vetlouga (Russia) as Claude Génia Aranovitch. She made her debut as film actress in the part of Gisèle next to Edwige Feuillère in the comedy L'honorable Catherine/The Honorable Catherine (1943) by Marcel L'Herbier, about a woman who blackmails others among whom Gisèle and Jack (Raymond Rouleau). She became a star in the part of Delphine de Nucingen, Honoré de Balzac’s heroin, in the adaptation of Le Père Goriot (1945) by Robert Vernay, starring Pierre Renoir as Vautrin and Pierre Larquey in the title part. In 1946 Vernay gave Génia the role of Gisèle d’Angoulême in Le Capitan/The Captain (Robert Vernay, 1946), with again Pierre Renoir as the Duke of Angoulême, and co-starring Jean Pâqui (Le Capitan), Sophie Desmarets (Marion Delorme), Huguette Duflos (Marie de Medici), and Aimé Clairiond (Concini). Based on a novel by Michel Zévaco, the cape and dagger film deals with young Adhémar de Capestang, nicknamed le Capitan, who arrives in Paris looking for fortune and falls in love with beautiful Gisele d’Angouleme. Her father, though, is messed up in a conspiracy against the young king Louis XIII. Marshall Concini would like to keep the power his lover, queen-mother Marie de Medici, gave to him, but The Captain fights the conspiracy, defending the young king Louis XIII (Serge Emrich) and Concini is killed. (In 1960 a popular remake would be made by André Hunebelle, with Jean Marais as Le capitan and Elsa Martinelli as Gisèle.)
Other major parts in the 1940s of Claude Génia were in the Franco-Italian coproduction Les beaux jours du roi Murat (Théophile Pathé, 1947), co-starring Alfred Adam and Junie Astor, Carrefour du crime (Jean Sacha, 1948) with Louis Salou, and La Louve (Guillaume Radot, 1949) with Jean Davy. In 1952 Génia played the part of Jeanne Donge in the thriller La Vérité sur Bébé Donge (Henri Decoin, 1942), with Jean Gabin and Danielle Darrieux, followed by parts such as La Carconte in Le comte de Monte- Christo (Robert Vernay, 1954) starring Jean Marais. From 1958 to 1966 Génia directed the Théâtre Edouard VII and was absent from the screen, but after that she returned for parts like Madame Golovine in J'ai tué Raspoutine (Robert Hossein, 1967) starring Gert Fröbe as Rasputin, and Marguerite in the horror comedy Dracula père et fils (1976) by Édouard Molinaro. On stage she appeared as Hécuba with Claude Jade, François Beaulieu and Corinne Marchand in La guerre de Troie n'aura pas lieu (1975), staged at the Théâtre des Célestins in Lyon, and directed by Jean Meyer. Génia also appeared on television, as in Les Enfants du faubourg (episode 45 of the series Les Cinq Dernières Minutes (Maurice Frydland), 1968. Claude Génia died in 1979 in Tours, France.
Sources: Wikipedia (French) and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Bromofoto, Milano, no. 941. Photo: MGM. Publicity still for The Student Prince (1954, Richard Thorpe).
Darkly handsome Edmund Purdom (1924 – 2009) was a British character actor, who wore togas and sandals for a great deal of his career. In Hollywood he replaced Marlon Brando in The Egyptian (1954) and Mario Lanza in The Student Prince (1954) and in Italy he starred in countless peplums and other genre films.
Edmund Anthony Cutlar Purdom was born in Welwyn Garden City, England in 1924. His father was artist and London drama critic Charles Benjamin Purdom. Edmund was educated by Jesuits at St Ignatius College and by Benedictines at Downside School. He began his acting career in 1945 by joining the Northampton Repertory Company, appearing in productions which included Romeo and Juliet and Molière's The Imaginary Invalid. Followed by two years of military service where he joined the Army Pool of Artists. He made his screen debut in the BBC TV film Carissima (1950), followed by a BBC TV adaptation of William Shakespeare’s Julius Caesar (1951, Leonard Brett). He then joined the Shakespeare Memorial Theatre at Stratford-on-Avon. In 1951-1952, Purdom was part of the company that Laurence Olivier and Vivien Leigh took to Broadway for alternating performances of Shakespeare's Antony and Cleopatra and George Bernard Shaw's Caesar and Cleopatra. He tested at Twentieth Century-Fox for the leading male role in My Cousin Rachel (1952), but Richard Burton got the part. The studio cast him instead as ship's officer Lightoller in Titanic (1953, Jean Negulesco). His performance caught the attention of MGM, and he got a small role in the classic Julius Caesar (1953, Joseph L. Mankiewicz) starring Marlon Brando. Purdome played Strato, the young servant of Brutus (James Mason), who holds the sword out for his master to run on to at the climax. Then he was cast in the title role in opposite Jean Simmons in the epic The Egyptian (1954, Michael Curtiz), 20th Century-Fox's most lavish production of 1954. He played a brilliant physician in the service of the Pharaoh in 18th-dynasty Egypt. Ronald Bergan in The Guardian: “Purdom's reputation as a surrogate is underlined by the fact that he got his first chance of stardom when he replaced Marlon Brando in The Egyptian (1954) after Brando wisely cried off, preferring to play Napoleon in Desirée instead. (...) Purdom's striking dark good looks and dimpled cheeks made up for his rather wooden personality and inability to pronounce his 'r's, but not even Brando could have known how to react to dialogue such as: ‘You have bold eyes for the son of a cheesemaker.’”
Edmund Purdom then played the leading role opposite Ann Blyth in the MGM musical The Student Prince (1954), a part originally intended for Mario Lanza. According to Wikipedia, Lanza’s disagreement with director Curtis Bernhardt over the way a certain song was to be sung had led to his dismissal by MGM. (Ronald Bergan adds: “Mario Lanza's drugs-alcohol-weight problems got the better of him”). The film was subsequently directed by Richard Thorpe and Purdom lip-synched to Lanza's singing voice. MGM gave the young unknown a huge build-up. In the same year, he appeared in another MGM musical, Athena (1954, Richard Thorpe), opposite Jane Powell and Debbie Reynolds. To, Vallance cites in The Independent Debbie Reynolds saying: “The only relief on the set was the action going on off camera. Linda Christian, who was Mrs Tyrone Power at the time, was also in the picture. She was a temptress, and right before our eyes we saw the tempted, who was Edmund Purdom. They would go to his little trailer, close the door and be gone for quite a while.” Christian later divorced Power and married Purdom. He then played the title role opposite superstar Lana Turner in the biblical epic The Prodigal (1955, Richard Thorpe), MGM's most lavish production of 1955. It was a huge flop. He partnered with Ann Blyth again in the swashbuckling CinemaScope adventure film The King's Thief (1955, Robert Z. Leonard). Purdom's MGM contract was terminated. On television he starred as Marco del Monte in the swashbuckler series Sword of Freedom (1957-1958, Peter Cotes, Anthony Squire). In 1959 he filmed the crime drama Malaga/Moment of Danger (1960, Laslo Benedek) in Europe starring. The American premiere of the film, co-starring Trevor Howard and Dorothy Dandridge was delayed for nearly two years. After that, he did not work in Hollywood anymore except for some cameos, such as in the MGM production The Yellow Rolls-Royce (1964, Anthony Asquith) in which peer Rex Harrison buys his wife (Jeanne Moreau) the titular limousine, unaware that she will be using the back seat to make love to Purdom.
When his Hollywood career sizzled out, Edmund Purdom went to Italy to star in the crime drama Agguato a Tangeri/Trapped in Tangiers (1957, Riccardo Freda) with Geneviève Page. He decided to stay in Europe. In Italy, he made the peplums (sword and sandal epic) Erode il grande/Herod the great (1959, Viktor Tourjansky) with Sylvia Lopez, I cosacchi/The Cossacks (1960, Viktor Tourjansky, Giorgio Venturini) opposite John Drew Barrymore, and
Salambò/The Loves of Salammbo (1960, Sergio Grieco) featuring Jeanne Valérie. In France he played Rasputin in Les nuits de Raspoutine/The Night They Killed Rasputin (1960, Pierre Chenal) with Gianna Maria Canale. In Austria, he appeared in Das große Wunschkonzert/Big Request Concert (1960, Arthur Maria Rabenalt) with Carlos Thompson and Linda Christian. In Great Britain he played with Ian Hendry and Janette Scott in The Beauty Jungle (1964, Val Guest) about the dangerous world of beauty contests. Another British film was the drama The Comedy Man (1964, Alvin Rakoff ) starring Kenneth More as a struggling actor. He lived in Rome for the rest of his life, and continued to work extensively in Italian B-films and on television. His later films include the spaghetti western Crisantemi per un branco di carogne/Chrysanthemums for a Bunch of Swine (1968, Sergio Pastore), the horror film Thomas e gli indemoniati/Thomas and the Bewitched (1970, Pupi Avati) and the thriller Giornata nera per l'ariete/Evil Fingers (1971, Luigi Bazzoni) starring Franco Nero. He also worked as a voice actor. He dubbed dialogue translated from Italian into English for sales of Italian films in English-speaking countries. During the 1970’s and 1980’s he appeared in interesting films like the crime drama L'onorata famiglia/The honourable family (1974, Tonino Ricci) with Raymond Pellegrin, the TV film Sophia Loren: Her Own Story (1980, Mel Stuart) in which he convincingly played actor-writer-director Vittorio de Sica, and Don Bosco (1988, Leandro Castellani) featuring Ben Gazzara. On TV he was seen in The Scarlet and the Black (1983, Jerry London) starring Gregory Peck, and the mini-series The Winds of War (1983, Dan Curtis) starring Robert Mitchum. In 1984, he directed the horror mystery Don't Open 'Til Christmas,about a psychopath who slaughters Santas. Purdom also played the leading role as a police inspector. It would be his first and last film direction. He was also very active as a sound-engineer for music, recording many classical concerts in Florence and Vienna and devised a technique transferring mono (sound) to stereo. He narrated a popular short Christian documentaries on the life of Padre Pio, and 7 Signs of Christ's Return. His final film was the adventure film I cavalieri che fecero l'impresa/The Knights of the Quest (2001, Pupi Avati) starring Raul Bova. Purdom was married four times. His first three wives, all divorced, were actress and ex-ballerina Tita Phillips (1951-1956), the mother of his children; Alicia Darr (1957-1958), and actress Linda Christian (1962-1963); and. In 2000 he married his fourth wife, the photographer Vivienne Purdom. Edmund Purdom died from heart failure in 2009, in Rome. He was 89. His daughter Lilan Purdom is a journalist with the French television channel TF1.
Sources: Ronald Bergan (The Guardian), Tom Vallance (The Independent), Wikipedia and IMDb.
Romanian collectors card by Operativa "Fotografia".
On New Year’s Eve, 31 December 2020, French film actor, director, and writer Robert Hossein (1927) has passed. He was generally cast as a tough guy beside such gorgeous actresses as Brigitte Bardot, Sophia Loren, and Marina Vlady. Hossein is most famous though as Michèle Mercier's husband in the wildly popular Angélique film series of the 1960s. He died, one day after his 93rd birthday, of complications from COVID-19.
Robert Hossein was born as Robert Hosseinoff in Paris in 1927. He was the son of Aminollah (André) Hossein, a French orchestra conductor and composer of Persian-Azeri descent, and Anna Minevskaya, a Jewish comedy actress from Kiev. Robert was trained at René Simon's acting school. He laboured away as actor/director with the legendary Theatre Grand Guignol in Montmartre, then spent several years on the ‘legitimate’ stage. He made his first film appearance in a bit part in Les souvenirs ne sont pas à vendre/Sextette (Robert Hennion, 1948) with Martine Carol, and he had his breakthrough with the classic Film Noir Du rififi chez les hommes/Rififi (Jules Dassin, 1955) as a slightly sadistic drug-addict. The role of the jaded criminal stuck with him in the coming decades. Hossein also started directing with the thriller Les salauds vont en enfer/The Wicked Go to Hell (Robert Hossein, 1956) in which he co-starred with his wife, Marina Vlady. The film was based on a play by Frédéric Dard whose novels and plays went on to furnish Hossein with much of his later film material such as the Film-Noir Toi... le venin/Blonde in a White Car (Robert Hossein, 1958), in which he again co-starred with Vlady, and with her sister Odile Versois. Wikipedia notes: “Right from the start Hossein established his characteristic trademarks: using a seemingly straightforward suspense plot and subverting its conventions (sometimes to the extent of a complete disregard of the traditional demand for a final twist or revelation) in order to concentrate on ritualistic relationships. This is the director's running preoccupation which is always stressed in his films by an extraordinary command of film space and often striking frame compositions where the geometry of human figures and set design is used to accentuate the psychological set-up of the scene. The mechanisms of guilt and the way it destroys relationships is another recurring theme, presumably influenced by Hossein's lifelong interest in the works of Dostoyevski.”
As a director, Robert Hossein had some modest international successes with films like Le vampire de Düsseldorf/The Vampire of Dusseldorf (Robert Hossein, 1965), but he was much singled out for scorching criticism by the critics and followers of the Nouvelle Vague for the unashamedly melodramatic frameworks of his films. The fact that he was essentially an auteur director with a consistent set of themes and an extraordinary mastery of original and unusual approaches to staging his stories, was never appreciated. He was not averse to trying his hand at widely different genres and was never defeated, making the strikingly different spaghetti western Une corde, un Colt/The Rope and the Colt (Robert Hossein, 1969) and the low-budgeted but daringly subversive period drama J'ai tué Raspoutine/Rasputin (Robert Hossein, 1967) starring Gert Fröbe. However, because of the lack of wider success and continuing adverse criticism, Hossein virtually ended his film directing career in 1970 and concentrated on the theatre where his achievements were never questioned. However, in 1982, he directed the film adaption of Victor Hugo’s classic literary masterpiece, Les Misérables (Robert Hossein, 1982) with Lino Ventura as Jean Valjean. James Travers writes in his review at Films de France: “The film’s exceptional production values are enhanced by Hossein’s own stylised approach, which gives the film a sense of authenticity and surprising modernity.” Robert Hossein’s most famous role was as Michèle Mercier's husband Jeoffrey de Peyrac in the historical romance/adventure Angélique, marquise des anges/Angélique (Bernard Borderie, 1964) and its four sequels. Other films in which he appeared were Crime et châtiment/Crime and Punishment (Georges Lampin, 1956) starring Jean Gabin, Madame Sans-Gêne (Christian-Jaque, 1961) opposite Sophia Loren, and the Marquis de Sade adaptation Le vice et la vertu/Vice and Virtue (Roger Vadim, 1963) with Catherine Deneuve.
In the 1970s and 1980s Robert Hossein played opposite Jean-Paul Belmondo in police thrillers like Le Casse/The Burglars (Henri Verneuil, 1971) and Le professionnel/The Professional (Georges Lautner, 1981). He also appeared opposite Brigitte Bardot in one of her last films, Don Juan ou Si Don Juan était une femme.../Don Juan (Or If Don Juan Were a Woman) (Roger Vadim, 1973), and he was excellent as a Catholic priest who falls in love with Claude Jade and becomes a communist in Prêtres interdits/Forbidden Priests (Denys de La Patellière, 1973). One of his most famous starring roles was as a pianist in the musical epic Les Uns et les Autres/Bolero (Claude Lelouch, 1981). In the theatre, he directed popular historical vehicles involving large sets and numerous actors. Among his later creations were 'Danton and Celui qui a dit non' (Those Who Said No), a play on Charles de Gaulle and the French resistance. At the age of 72, Hossein again played romantic love-scenes in a film, now with Audrey Tautou in Vénus beauté (institut)/Venus Beauty Institute (Tonie Marshall, 1999). He later regularly appeared on TV and in films. Robert Hossein was married three times: first to Marina Vlady (he had two sons with her, Pierre and Igor), later to Caroline Eliacheff (with whom he had a son, Nicholas). Till his death, he was married to actress Candice Patou, with whom he had one son, Julien. Robert Hossein died in 2020 of complications from COVID-19.
Sources: James Travers (Films de France), Hal Erickson (AllMovie), Darius Kadivar (The Iranian), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1840, 1963. Robert Hossein in La liberté surveillée/Provisional Liberty (Henri Aisner, Vladimír Vlcek, 1958).
On New Year’s Eve, 31 December 2020, French film actor, director, and writer Robert Hossein (1927) has passed. He was generally cast as a tough guy beside such gorgeous actresses as Brigitte Bardot, Sophia Loren, and Marina Vlady. Hossein is most famous though as Michèle Mercier's husband in the wildly popular Angélique film series of the 1960s. He died, one day after his 93rd birthday, of complications from COVID-19.
Robert Hossein was born as Robert Hosseinoff in Paris in 1927. He was the son of Aminollah (André) Hossein, a French orchestra conductor and composer of Persian-Azeri descent, and Anna Minevskaya, a Jewish comedy actress from Kiev. Robert was trained at René Simon's acting school. He laboured away as actor/director with the legendary Theatre Grand Guignol in Montmartre, then spent several years on the ‘legitimate’ stage. He made his first film appearance in a bit part in Les souvenirs ne sont pas à vendre/Sextette (Robert Hennion, 1948) with Martine Carol, and he had his breakthrough with the classic Film Noir Du rififi chez les hommes/Rififi (Jules Dassin, 1955) as a slightly sadistic drug-addict. The role of the jaded criminal stuck with him in the coming decades. Hossein also started directing with the thriller Les salauds vont en enfer/The Wicked Go to Hell (Robert Hossein, 1956) in which he co-starred with his wife, Marina Vlady. The film was based on a play by Frédéric Dard whose novels and plays went on to furnish Hossein with much of his later film material such as the Film-Noir Toi... le venin/Blonde in a White Car (Robert Hossein, 1958), in which he again co-starred with Vlady, and with her sister Odile Versois. Wikipedia notes: “Right from the start Hossein established his characteristic trademarks: using a seemingly straightforward suspense plot and subverting its conventions (sometimes to the extent of a complete disregard of the traditional demand for a final twist or revelation) in order to concentrate on ritualistic relationships. This is the director's running preoccupation which is always stressed in his films by an extraordinary command of film space and often striking frame compositions where the geometry of human figures and set design is used to accentuate the psychological set-up of the scene. The mechanisms of guilt and the way it destroys relationships is another recurring theme, presumably influenced by Hossein's lifelong interest in the works of Dostoyevski.”
As a director, Robert Hossein had some modest international successes with films like Le vampire de Düsseldorf/The Vampire of Dusseldorf (Robert Hossein, 1965), but he was much singled out for scorching criticism by the critics and followers of the Nouvelle Vague for the unashamedly melodramatic frameworks of his films. The fact that he was essentially an auteur director with a consistent set of themes and an extraordinary mastery of original and unusual approaches to staging his stories, was never appreciated. He was not averse to trying his hand at widely different genres and was never defeated, making the strikingly different spaghetti western Une corde, un Colt/The Rope and the Colt (Robert Hossein, 1969) and the low-budgeted but daringly subversive period drama J'ai tué Raspoutine/Rasputin (Robert Hossein, 1967) starring Gert Fröbe. However, because of the lack of wider success and continuing adverse criticism, Hossein virtually ended his film directing career in 1970 and concentrated on the theatre where his achievements were never questioned. However, in 1982, he directed the film adaption of Victor Hugo’s classic literary masterpiece, Les Misérables (Robert Hossein, 1982) with Lino Ventura as Jean Valjean. James Travers writes in his review at Films de France: “The film’s exceptional production values are enhanced by Hossein’s own stylised approach, which gives the film a sense of authenticity and surprising modernity.” Robert Hossein’s most famous role was as Michèle Mercier's husband Joffrey de Peyrac in the historical romance/adventure Angélique, marquise des anges/Angélique (Bernard Borderie, 1964) and its four sequels. Other films in which he appeared were Crime et châtiment/Crime and Punishment (Georges Lampin, 1956) starring Jean Gabin, Madame Sans-Gêne (Christian-Jaque, 1961) opposite Sophia Loren, and the Marquis de Sade adaptation Le vice et la vertu/Vice and Virtue (Roger Vadim, 1963) with Catherine Deneuve.
In the 1970s and 1980s Robert Hossein played opposite Jean-Paul Belmondo in police thrillers like Le Casse/The Burglars (Henri Verneuil, 1971) and Le professionnel/The Professional (Georges Lautner, 1981). He also appeared opposite Brigitte Bardot in one of her last films, Don Juan ou Si Don Juan était une femme.../Don Juan (Or If Don Juan Were a Woman) (Roger Vadim, 1973), and he was excellent as a Catholic priest who falls in love with Claude Jade and becomes a communist in Prêtres interdits/Forbidden Priests (Denys de La Patellière, 1973). One of his most famous starring roles was as a pianist in the musical epic Les Uns et les Autres/Bolero (Claude Lelouch, 1981). In the theatre, he directed popular historical vehicles involving large sets and numerous actors. Among his later creations were 'Danton and Celui qui a dit non' (Those Who Said No), a play on Charles de Gaulle and the French resistance. At the age of 72, Hossein again played romantic love-scenes in a film, now with Audrey Tautou in Vénus beauté (institut)/Venus Beauty Institute (Tonie Marshall, 1999). He later regularly appeared on TV and in films. Robert Hossein was married three times: first to Marina Vlady (he had two sons with her, Pierre and Igor), later to Caroline Eliacheff (with whom he had a son, Nicholas). Till his death, he was married to actress Candice Patou, with whom he had one son, Julien. Robert Hossein died in 2020 of complications from COVID-19.
Sources: James Travers (Films de France), Hal Erickson (AllMovie), Darius Kadivar (The Iranian), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
(Lausanne, Marterey, le 9 décembre 2017)
__________
L'exposition des planches originales de Griffo se poursuivra jusqu'à fin janvier 2018 (Librairie Raspoutine, Rue Marterey 24 à Lausanne)
French postcard by Editions P.I., Paris, no. 55. Photo: C.C.F.C. (Compagnie Commerciale Française Cinématographique). Publicity still for Bagarres/Wench (Henri Calef, 1948).
French actor Roger Pigaut (1919–1989) appeared in 40 films between 1943 and 1978. He also worked as a film director and scriptwriter.
Roger Pigaut was born Roger Paul Louis Pigot in Vincennes, France, in 1919. In 1938, Pigaut attended the theatre courses of Raymond Rouleau and the following year he was admitted to the Conservatoire. But because of the war, he left to the South of France. From 1943, he played in more than forty films. One of his first films was the romantic drama Douce/Love Story (Claude Autant-Lara, 1943) with Odette Joyeux. He co-starred with Madeleine Robinson in the crime drama Sortilèges/The Bellman (Christian-Jaque, 1945). D.B. Dumontiel at IMDb: “Robinson and Pigaut had already teamed up in Claude Autant-Lara's classic Douce and the scenes where they are together (particularly the ball) take the film out on a level of stratospheric intensity that simply rises above the rest.” Pigaut’s most prominent roles were as Antoine in the comedy Antoine et Antoinette (Jacques Becker, 1947) with Claire Mafféi as Antoinette, and as Pierre Bouquinquant in Les frères Bouquinquant/The brothers Bouquinquant (Louis Daquin, 1948). D.B. Dumontiel agaqin: “Antoine and Antoinette retains its pristine charm. It's very well acted, and Becker's camera is fluid, his sympathy for his characters is glaring. Qualities which will emerge again in such works as Rendez-vous de Juillet and his towering achievement Casque D'Or.” Pigaut then portrayed the eighteenth century adventurer Louis Dominique Bourguignon known as Cartouche in the historical film Cartouche, roi de Paris/Cartouche (Guillaume Radot, 1950).
In Italy, Roger Pigaut played a supporting part in the Italian Peplum Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) about Theodora (Gianna Maria Canale), a former slave who married Justinian I, emperor of Byzantium in AD 527–565. He also appeared as Le Marquis d'Escrainville in two parts of the popular Angélique series featuring Michèle Mercier, Indomptable Angélique/Untamable Angelique (Bernard Borderie, 1967) and Angélique et le sultan/Angelique and the Sultan (Bernard Borderie, 1968). Other historical films in which Pigaut appeared were the Italian-French J'ai tué Raspoutine/I Killed Rasputin (Robert Hossein, 1967) with Gert Fröbe as Grigori Rasputin, and the romantic tragedy Mayerling (Terence Young, 1968) starring Omar Sharif as Crown Prince Rudolf of Austria and Catherine Deneuve as his mistress Baroness Maria Vetsera. His last film was Une Histoire simple/A Simple Story (Claude Sautet, 1978), starring Romy Schneider, which was nominated for the Oscar for Best Foreign Language Film. Roger Pigaut also directed six films, and played in the theatre. For five years, he was the companion of actress Betsy Blair from the late-1950s to the early-1960s (in between her marriages to Gene Kelly and Karel Reisz). Together with Serge Reggiani, they founded the production company Garance Films, with which they produced such films as Cerf-volant du bout du monde/The Magic of the Kite (Roger Pigaut, 1958) and the caper Trois milliards sans ascenseur/3000 Million Without an Elevator (Roger Pigaut, 1972) with Reggiani, and Dany Carrel. Later he was married to French actress Joëlle Bernard. Roger Pigaut passed away in 1989 in Paris. He was 70.
Sources: D.B. Dumonteil (IMDb), Wikipedia (French and English) and IMDb.
Vladimir Vladimirovich Putin posing as a Tsar-Ivan-but-a-Koschei-at-heart (or lack thereof), without him knowing it.
He captures an inflated Firebird dummy's enchanted feather - that he hastened to turn into a leaded curse - painted by Giorgio de Chirico for Stravinsky, persuading himself to have all his armored ducks in a row to act accordingly.
And goes "pop!", blows it big time in Ukraine.
La russité, que Vladimir Poutine pétrit, gâche et regâche, à s'en donner des ampoules dans les mains, comme le Grand Masturbateur de Dalì, va finir par lui péter au visage ou en pleine poitrine, comme l'œuf dans lequel Kochtcheï enfouit son âme pour la protéger.
Aucun tsar-sorcier ne sut lutter contre le champ littéraire d'un pays slave aussi puissant.
Tolstoï et Raspoutine auraient pu lui rappeler cet inamovible état des choses
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 32/71. Retail price: 0,20 M.
French film actor, director and writer Robert Hossein (1927) was generally cast as a tough guy beside such gorgeous actresses as Brigitte Bardot, Sophia Loren and Marina Vlady. He is most famous though as Michèle Mercier's husband in the wildly popular Angélique series of the 1960s.
Robert Hossein was born as Robert Hosseinoff in Paris in 1927. He was the son of Aminollah (André) Hossein, a French orchestra conductor and composer of Persian-Azeri descent, and Anna Minevskaya, a Jewish comedy actress from Kiev. Robert was trained at René Simon's acting school. He labored away as actor/director with the legendary Theatre Grand Guignol in Montmartre, then spent several years on the ‘legitimate’ stage. He made his first film appearance in a bit part in Les souvenirs ne sont pas à vendre/Sextette (1948, Robert Hennion) with Martine Carol, and he had his breakthrough with the classic Film-Noir Du rififi chez les hommes/Rififi (1955, Jules Dassin) as a slightly sadistic drug-addict. The role of the jaded criminal stuck with him in the coming decades. Hossein also started directing with the thriller Les salauds vont en enfer/The Wicked Go to Hell (1956, Robert Hossein) in which he co-starred with his wife, Marina Vlady. The film was based on a play by Frédéric Dard whose novels and plays went on to furnish Hossein with much of his later film material such as the Film-Noir Toi... le venin/Blonde in a White Car (1958, Robert Hossein), in which he again co-starred with Vlady, and with her sister Odile Versois. Wikipedia notes: “Right from the start Hossein established his characteristic trademarks: using a seemingly straightforward suspense plot and subverting its conventions (sometimes to the extent of a complete disregard of the traditional demand for a final twist or revelation) in order to concentrate on ritualistic relationships. This is the director's running preoccupation which is always stressed in his films by an extraordinary command of film space and often striking frame compositions where the geometry of human figures and set design is used to accentuate the psychological set-up of the scene. The mechanisms of guilt and the way it destroys relationships is another recurring theme, presumably influenced by Hossein's lifelong interest in the works of Dostoyevski.”
As a director Robert Hossein had some modest international successes with films like Le vampire de Düsseldorf/The Vampire of Dusseldorf (1965, Robert Hossein), but he was much singled out for scorching criticism by the critics and followers of the New Wave for the unashamedly melodramatic frameworks of his films. The fact that he was essentially an auteur director with a consistent set of themes and an extraordinary mastery of original and unusual approaches to staging his stories, was never appreciated. He was not averse to trying his hand at widely different genres and was never defeated, making the strikingly different spaghetti western Une corde, un Colt/The Rope and the Colt (1969, Robert Hossein) and the low-budgeted but daringly subversive period drama J'ai tué Raspoutine/Rasputin (1967, Robert Hossein) starring Gert Fröbe. However, because of the lack of wider success and continuing adverse criticism, Hossein virtually ended his film directing career in 1970, having concentrated on theatre where his achievements were never questioned, but in 1982, he directed the film adaption of Victor Hugo’s classic literary masterpiece, Les Misérables (1982, Robert Hossein) with Lino Ventura as Jean Valjean. James Travers writes in his review at Films de France: “The film’s exceptional production values are enhanced by Hossein’s own stylised approach, which gives the film a sense of authenticity and surprising modernity.”
Robert Hossein’s most famous role was as Michèle Mercier's husband Jeoffrey de Peyrac in the historical romance/adventure Angélique, marquise des anges/Angélique (1964, Bernard Borderie) and its four sequels. Other films in which he appeared were Crime et châtiment/ Crime and Punishment (1956, Georges Lampin) starring Jean Gabin, Madame Sans-Gêne (1961, Christian-Jaque) opposite Sophia Loren, and the Marquis de Sade adaptation Le vice et la vertu/Vice and Virtue (1963, Roger Vadim) with Catherine Deneuve. In the 1970’s and 1980’s he played opposite Jean Paul Belmondo in police thrillers like Le Casse/The Burglars (1971, Henri Verneuil) and Le professionnel/ The Professional (1981, Geroges Lautner). He also appeared opposite Brigitte Bardot in one of her last films, Don Juan ou Si Don Juan était une femme.../Don Juan (Or If Don Juan Were a Woman) (1973, Roger Vadim), and he was excellent as a Catholic priest who falls in love with Claude Jade and becomes a communist in Prêtres interdits/Forbidden Priests (1973, Denys de La Patellière). One of his most famous starring roles was as a pianist in the musical epic Les Uns et les Autres/Bolero (1981, Claude Lelouch). In the theatre he directed popular historical vehicles involving large sets and numerous actors. Among his latest creations were Danton and Celui qui a dit non (Those Who Said No), a play on Charles de Gaulle and the French resistance. At the age of 72, Hossein again played romantic love-scenes in a film, now with Audrey Tautou in Vénus beauté (institut)/Venus Beauty Institute (1999, Tonie Marshall). He still regularly appears on TV and in films. Robert Hossein was married three times: first to Marina Vlady (he has two sons with her, Pierre and Igor), later to Caroline Eliacheff (with whom he has a son, Nicholas). He is currently married to actress Candice Patou, with whom he has one son, Julien.
Sources: James Travers (Films de France), Hal Erickson (AllMovie), Darius Kadivar (The Iranian), Wikipedia, and IMDb.
French postcard. Photo Ancrenaz. C.F.C.C. A.N., Paris, no. 1225. Claude Génia as Gisèle d'Angoulême in the film Le Capitan (1946).
Claude Génia (1913-1979) was a French film and stage actress of Russian origin. She was also a theatre manager. As a film actress her glory years were in the 1940s, with films such as Le Capitan (Robert Vernay 1946).
Génia was born March 4th, 1913 in Vetlouga (Russia) as Claude Génia Aranovitch. She made her debut as film actress in the part of Gisèle next to Edwige Feuillère in the comedy L'honorable Catherine/The Honorable Catherine (1943) by Marcel L'Herbier, about a woman who blackmails others among whom Gisèle and Jack (Raymond Rouleau). She became a star in the part of Delphine de Nucingen, Balzac’s heroin, in the adaptation of Le Père Goriot (1945) by Robert Vernay, starring Pierre Renoir as Vautrin and Pierre Larquey in the title part. In 1946 Vernay gave Génia the role of Gisèle d’Angoulême in Le Capitan/The Captain (1946), with again Pierre Renoir as the Duke of Angoulême, and co-starring Jean Pâqui (Le Capitan), Sophie Desmarets (Marion Delorme), Huguette Duflos (Marie de Medici), Aimé Clairiond (Concini). Based on a novel by Michel Zévaco, the cape and dagger film deals with young Adhémar de Capestang, nicknamed le Capitan, who arrives in Paris looking for fortune and falls in love with beautiful Gisele d’Angouleme. Her father, though, is messed up in a conspiracy against the young king Louis XIII. Marshall Concini would like to keep the power his lover, queen-mother Marie de Medici, gave to him, but The Captain fights the conspiracy, defending the young king Louis XIII (Serge Emrich) and Concini is killed. (In 1960 a popular remake would be made by André Hunebelle, with Jean Marais as Le capitan and Elsa Martinelli as Gisèle.)
Other major parts in the 1940s of Génia were in the Franco-Italian coproduction Les beaux jours du roi Murat (Théophile Pathé 1947), co-starring Alfred Adam and Junie Astor, Carrefour du crime (Jean Sacha 1948) with Louis Salou, and La Louve (Guillaume Radot 1949) with Jean Davy. In 1952 Génia played the part of Jeanne Donge in the thriller La Vérité sur Bébé Donge (Henri Decoin), with Jean Gabin and Danielle Darrieux, followed by parts such as La Carconte in Le comte de Monte- Christo (Vernay 1954) starring Jean Marais. From 1958 to 1966 Génia directed the Théâtre Edouard VII and was absent from the screen, but after that she returned for parts like Madame Golovine in J'ai tué Raspoutine (Robert Hossein 1967) starring Gert Fröbe as Rasputin, and Marguerite in the horror comedy Dracula père et fils (1976) by Édouard Molinaro. On stage she appeared as Hécuba with Claude Jade, François Beaulieu and Corinne Marchand in La guerre de Troie n'aura pas lieu (1975), staged at the Théâtre des Célestins in Lyon, and directed by Jean Meyer. Génia also appeared on television, as in Les Enfants du faubourg (episode 45 of the series Les Cinq Dernières Minutes, 1968, dir. Maurice Frydland). Claude Génia died May 18th, 1979 in Tours.
Sources: French Wikipedia, IMDB.
Dr. Sketchy Paris : Raspoutine : 27 mai 2010
L'histoire se passe a Paris pendant l'entre deux guerres dans le milieux des immigrés russes. Un groupe de russes, autrefois riches et respectes, parfois princes, lutte pour survivre, ayant garder leur vigueur et leur extravagance. Dans les nuits de Pigalle, on rencontre des anciens guerriers alcooliques, des princes danseurs, des chanteuses tziganes... belle description de la nuit éclatante, délirante et décadente. On y voit des personnages complètement avilis, qui gardent pourtant une grandeur d'âme.
En modèle vivant:
-Lolly Wish
-Gala
-Pomme d'Amour
-Guillaume Rumiel
Avec un spectacle par la sublime de Lalla Morte!
German postcard by Rüdel-Verlag, no. 1693. Photo: EGC / Fernand Rivers / Constantin Film. Publicity still for La Lumière d'en face/Female and the Flesh (Georges Lacombe, 1955).
French actor Roger Pigaut (1919–1989) appeared in 40 films between 1943 and 1978. He also worked as a film director and scriptwriter.
Roger Pigaut was born Roger Paul Louis Pigot in Vincennes, France, in 1919. In 1938, Pigaut attended the theatre courses of Raymond Rouleau and the following year he was admitted to the Conservatoire. But because of the war, he left to the South of France. From 1943, he played in more than forty films. One of his first films was the romantic drama Douce/Love Story (Claude Autant-Lara, 1943) with Odette Joyeux. He co-starred with Madeleine Robinson in the crime drama Sortilèges/The Bellman (Christian-Jaque, 1945). D.B. Dumontiel at IMDb: “Robinson and Pigaut had already teamed up in Claude Autant-Lara's classic Douce and the scenes where they are together (particularly the ball) take the film out on a level of stratospheric intensity that simply rises above the rest.” Pigaut’s most prominent roles were as Antoine in the comedy Antoine et Antoinette (Jacques Becker, 1947) with Claire Mafféi as Antoinette, and as Pierre Bouquinquant in Les frères Bouquinquant/The brothers Bouquinquant (Louis Daquin, 1948). D.B. Dumontiel agaqin: “Antoine and Antoinette retains its pristine charm. It's very well acted, and Becker's camera is fluid, his sympathy for his characters is glaring. Qualities which will emerge again in such works as Rendez-vous de Juillet and his towering achievement Casque D'Or.” Pigaut then portrayed the eighteenth century adventurer Louis Dominique Bourguignon known as Cartouche in the historical film Cartouche, roi de Paris/Cartouche (Guillaume Radot, 1950).
In Italy, Roger Pigaut played a supporting part in the Italian Peplum Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) about Theodora (Gianna Maria Canale), a former slave who married Justinian I, emperor of Byzantium in AD 527–565. He also appeared as Le Marquis d'Escrainville in two parts of the popular Angélique series featuring Michèle Mercier, Indomptable Angélique/Untamable Angelique (Bernard Borderie, 1967) and Angélique et le sultan/Angelique and the Sultan (Bernard Borderie, 1968). Other historical films in which Pigaut appeared were the Italian-French J'ai tué Raspoutine/I Killed Rasputin (Robert Hossein, 1967) with Gert Fröbe as Grigori Rasputin, and the romantic tragedy Mayerling (Terence Young, 1968) starring Omar Sharif as Crown Prince Rudolf of Austria and Catherine Deneuve as his mistress Baroness Maria Vetsera. His last film was Une Histoire simple/A Simple Story (Claude Sautet, 1978), starring Romy Schneider, which was nominated for the Oscar for Best Foreign Language Film. Roger Pigaut also directed six films, and played in the theatre. For five years, he was the companion of actress Betsy Blair from the late-1950s to the early-1960s (in between her marriages to Gene Kelly and Karel Reisz). Together with Serge Reggiani, they founded the production company Garance Films, with which they produced such films as Cerf-volant du bout du monde/The Magic of the Kite (Roger Pigaut, 1958) and the caper Trois milliards sans ascenseur/3000 Million Without an Elevator (Roger Pigaut, 1972) with Reggiani, and Dany Carrel. Later he was married to French actress Joëlle Bernard. Roger Pigaut passed away in 1989 in Paris. He was 70.
Sources: D.B. Dumonteil (IMDb), Wikipedia (French and English) and IMDb.
Cycle Messenger World Championship - Championnats du monde des coursiers à vélo (Lausanne, le 2 août 2013)
Find here all my images of CMWC 2013 : www.flickr.com/photos/degust/sets/72157634898049995/
Cycle Messenger World Championship - Championnats du monde des coursiers à vélo (Lausanne, le 2 août 2013)
Find here all my images of CMWC 2013 : www.flickr.com/photos/degust/sets/72157634898049995/
Cycle Messenger World Championship - Championnats du monde des coursiers à vélo (Lausanne, le 2 août 2013)
Find here all my images of CMWC 2013 : www.flickr.com/photos/degust/sets/72157634898049995/
Cycle Messenger World Championship - Championnats du monde des coursiers à vélo (Lausanne, le 2 août 2013)
Find here all my images of CMWC 2013 : www.flickr.com/photos/degust/sets/72157634898049995/
Cycle Messenger World Championship - Championnats du monde des coursiers à vélo (Lausanne, le 2 août 2013)
Find here all my images of CMWC 2013 : www.flickr.com/photos/degust/sets/72157634898049995/
Cycle Messenger World Championship - Championnats du monde des coursiers à vélo (Lausanne, le 2 août 2013)
Find here all my images of CMWC 2013 : www.flickr.com/photos/degust/sets/72157634898049995/