« Actors, I find it deceiving. I despise them. That’s right: Tell them to laugh, laugh. You tell them to cry, they cry. Tell them to crawl, they do. I find it ugly. These provocative words are those uttered by Michel Sauber in 1960 little soldier by Jean-Luc Godard, who made him famous.
Without knowing it, they would remain the motto of this non-conformist actor, whose airy, sinister career constitutes the most beautiful ghost films of French cinema. Translated not in the technical sense of the term, but a black star, a mass of basalt being, a bark of lava that has cooled but is still burning inside. Insisting on his “gray” look or cool gestures were enough to generate confusion, anxiety, and mystery. Michel Sauber was 86 years old when he died on January 17 in a car accident.
dryness and separation
His life could only be reconstructed in dotted lines, so the person in question made sure to shed a veil of secrecy and obfuscate it. Misha Sobotsky was born on February 2, 1935 in Paris to immigrant parents – an engineer father from Moscow and an Azerbaijani mother – who had fled the Soviet Union a few years earlier. His first steps in the cinema since 1955 were an additional step. In September 1959, at the Théâtre de la Renaissance, he replaced Serge Reggiani at short notice in boxed from Altona, Jean Paul Sartre and directed by Francois Darbon.
Then the young Godard noticed him and gave him screen tests for his second feature film. little soldier. He plays Bruno Forestier, a young fugitive who falls into the hands of the Organization of American States and is forced to commit an assassination. The film is told with the voiceover, imprinting the cold, sharp tone of Sopor, who then invents, even in his gestures, a whole form of dryness and detachment. With references in the midst of the Algerian war to the use of torture, the censored film would not be shown until 1963.
The 1960s is the boom period for the actor, who plays Brigitte Bardot in restrain (1961) an exciting comedy film by Roger Vadim, voiced by the narrator Jules and Jim (1961), by François Truffaut, and ended up in international productions such as lato (1969), by Alfred Hitchcock, or Even What’s the matter, Pussycat? (1965), by Clive Donner. In 1962, he, along with Paul Jegoff, screenwriter of the New Wave and the Sulfur Dandy, proceeded to shoot the only French Polynesia film for this movie, bouncing backAccording to Stephenson. This crazy adventure – assistant Jacques Poitrino put the film in a box instead of a director who prefers to harass a fishing rod – will not lead to a theatrical performance, the rights to the novel have not been paid.
You have 36.48% of this article left to read. The following is for subscribers only.