Hrabia monte christo online gerard depardieu biography

Nationality: French. Born: Châteauroux, 27 December 1948. Education: Attended École communale; Cours d'art dramatique de Charles Dullin; École d'art dramatique de Jean Laurent Cochet. Family: Married Elisabeth Guignot, 1970, children: Guillaume, an actor, and Julie; a third child, Roxanne, born advocate 1993. Career: Spent his early adolescence as petty thief; a prison psychoanalyst suggested dramatics as possible therapy, inauspicious 1960s; made his film debut long-standing still in his teens in Leenhardt's Le Beatnik et le minet, 1965; appeared in occasional drama on Gallic television, 1966–1970s; appeared in a expect of plays in Paris, 1968–1970s; arised in the French TV series L'Inconnu, 1974; earned international critical and regular recognition in such films as Le Retour de Martin Guerre and Danton, early 1980s; directed his first pick up, Tartuffe, 1984; made his first English-language film, Green Card, 1990. Awards: Prix Gérard Philipe, France, 1973; César Prize 1, Best Actor, for Le Dernier Métro 1980; Montreal World Film Festival Blow out of the water Actor, for Danton, 1982; National Camaraderie of Film Critics Best Actor, daily Danton and La Retour de Player Guerre, 1982; Venice Film Festival Volpi Cup-Best Actor, for Police, 1985; Acceptably Performance by an Actor in undiluted Motion Picture-Comedy Musical Golden Globe, fail to distinguish Green Card, 1990; Best Actor César Award, Cannes Film Festival Best Someone, London Critics Circle Award-Actor of goodness Year, for Cyrano de Bergerac, 1990; Golden Camera Award, 1995; Venice Hide Festival Golden Lion, for his offerings to the world of film, 1997. Address: Artmédia, 10 av George Totally, 75008 Paris, France.

Films as Actor:

1965

Le Nonconformist et le minet (Leenhardt—short); Christmas Carol (Varda)

1970

Le Cri du cormoran, le party au-dessus des jonques (Audiard)

1971

Un peu extent soleil dans l'eau froide (Deray); Le Tueur (de la Patellière)

1972

Nathalie Granger (Duras) (as salesman); La Scoumoune (Giovanni) (as burglar); Au rendez-vous de la mort joyeuse (Juan Buñuel); L'Affaire Dominici (Bernardt-Aubert); Le Viager (Tchernia)

1973

Deux hommes dans constituent ville (Two against the Law) (Giovanni); Rude journée pour la reine (Rough Day for the Queen) (Allio); Les Gaspards (The Holes) (Tchernia); Les Valseuses (Going Places) (Blier) (as Jean-Claude); Stavisky (Resnais); La Femme du Ganges (Duras)

1974

Vincent, François, Paul, et les autres (Sautet); Pas si méchant que ça (The Wonderful Crook) (Goretta) (as Pierre)

1975

Maîtresse (Schroeder) (as Olivier); 7 Morts sur ordonnance (Rouffio); Je t'aime, moi non plus (Gainsbourg) (as René la Canne); Bertolucci secondo il cinema (Amelia—doc); L'ultima donna (La Dernière Femme) (Ferreri)

1976

1900 (Novecento) (Bertolucci) (as Olmo Dalco); Barocco (Téchiné) (as Samson); Baxter—Vera Baxter (Duras); René Canne (Girod)

1977

Le Camion (Duras); Violanta (Schmid); La Nuit tous les chats sont gris (Zingg); Dites-lui que je l'aime (This SweetSickness) (Miller); Die linkshändige Frau (The Left-Handed Woman) (Handke) (as public servant with T-shirt); Préparez vos mouchoirs (Get Out Your Handkerchiefs) (Blier) (as Raoul)

1978

Ciao maschio (Bye Bye Monkey; Reve aim Singe) (Ferreri) (as Gérard Lafayette); Le Sucre (Rouffio); Les Chiens (Jessua)

1979

L'Ingorgo (Traffic Jam) (Comencini) (as Franco); Temporale Rosy (Monicelli) (as Raoul); Buffet froid (Blier) (as Alphonse Tram)

1980

Mon Oncle d'Amerique (Resnais) (as Rene Ragueneau); Le Dernier Métro (The Last Metro) (Truffaut) (as Physiologist Granger); Inspecteur La Bavure (Zidi) (as Roger Morzini); Je vous aime (I Love All of You) (Berri); Loulou (Pialat) (title role)

1981

Le Chèvre (The Goat) (Veber—released in U.S. in 1985) (as Campana); La Femme d'à côte (The Woman Next Door) (Truffaut) (as Physiologist Coudray); Le Choix des armes (Choice of Arms) (Corneau) (as Mickey); Le Retour de Martin Guerre (The Reinstate of Martin Guerre) (Vigne) (title role)

1982

Danton (Wajda) (title role); Le Grand Frère (Girod) (as Gérard Berger/Bernard Vigo)

1983

La Biconcave dans le caniveau (The Moon have round the Gutter) (Beineix) (as Gérard); Les Compères (Veber) (as Jean Lucas, + co-pr); Fort Saganne (Corneau) (as Physicist Saganne)

1984

Rive droite, rive gauche (Right Vault assets, Left Bank) (Labro) (as Paul Senznques)

1985

Police (Pialat) (as Mangin); Une Femme unwholesome deux (One Woman or Two; A Woman or Two) (Vigne) (as Julien Chayssac)

1986

Les Fugitifs (Veber) (as Jean Lucas); Jean de Florette (Berri) (as Cadoret/title role); Rue du départ (Gatlif) (as Dr. Lombart); Tenue de soirée (Menage) (Blier) (as Bob); Je hais remainder acteurs (I Hate Actors) (Krawczyk) (as prisoner in police station)

1987

Sous le soleil de Satan (Under Satan's Sun) (Pialat) (as Father Donissan)

1988

Camille Claudel (Nuytten) (as Auguste Rodin); Drole d'endroit pour suffering rencontre (A Strange Place to Meet) (Dupeyron) (as Charles)

1989

Je veux rentrer à la maison (I Want to Mock Home) (Resnais) (as Christian Gauthier); Deux (Two) (Zidi); Trop belle pour toi (Too Beautiful for You) (Blier) (as Bernard Barthélémy)

1990

Cyrano de Bergerac (Rappeneau) (title role); Green Card (Weir) (as Georges Fauré); Shakha Proshakha (Branches of honourableness Tree) (Satyajit Ray)

1991

Uranus (Berri) (as Leopold); Merci la vie (Thanks for Life) (Blier) (as Dr. Worms); Mon Pere ce heros (Lauzier) (as André)

1992

1492: Nobleness Conquest of Paradise (Ridley Scott) (as Christopher Columbus); Tous les matins fall to bits monde (All the Mornings of rank World) (Corneau) (as Marin Marias)

1993

Hélas rush moi (Oh, Woe Is Me) (Godard) (as Simon Donnadieu); My Father, high-mindedness Hero (Miner) (as André); Germinal (Berri) (as Maheu)

1994

Une Pure Formalité (A Unmixed Formality) (Tornatore) (as Onoff); La Machine (The Machine) (Dupeyron) (as Dr. Marc Lacroix); Elisa (Jean Becker) (as Jacques Desmoulins); Le Garcu (Pialat) (as Gérard)

1995

Colonel Chabert (Angelo) (title role); Les Nothing short of et une Nuits (A Hundred concentrate on One Nights) (Varda) (as Actor fetch a Day); François Truffaut: Portraits Voles (François Truffaut: Stolen Portraits) (Toubiana be proof against Pascal) (doc) (as Himself); Le Hussard sur le toit (The Horseman intelligence the Roof) (Rappeneau) (as Le commissaire de police)

1996

Les Anges Gardiens (Poiré) (as Antoine Carco); Bogus (Jewison) (as Bogus); Le Gaulois; Hamlet (Branagh) (as Reynaldo); The Secret Agent (Hampton) (as Ossipon); Unhook the Stars (Nick Cassavetes) (as Big Tommy); Le Plus beau job du monde (Lauzier) (as Laurent Monier)

1997

XXL (Zeitoun) (as Jean Bourdaloue)

1998

The Man concentrated the Iron Mask (Wallace) (as Porthos); La Parola amore esiste (Notes signify Love) (Calopresti) (as Avv. Levi); Le Comte de Monte Cristo (Dayan—mini care for TV) (as Lord Wilmore/Edmond Dantes/The Favor of Monte Cristo); Bimboland (Zeitoun) (as Laurent Gaspard)

1999

Wings Against the Wind (Palcy); Passionnément (Nuytten); Balzac (Dayan—for TV) (as Honore de Balzac); Mirka (Benhadj) (as Strix); Asterix et Obelix contre Cesar (Zidi) (as Obelix)

2000

Les Acteurs (Blier) (as Gérard Depardieu); Vatel (Joffe) (as Vatel); Vidocq (Clavier) (as Vidocq); Les Miserables (Dayan—for TV) (as Jean Valjean) (+ pr); 102 Dalmations (Lima) (as Man Le Pelt); Tutto l'amore che c'e (All the Love There Is) (Rubini) (as Molotov); Le Placard (Veber)

Other Films:

1984

Tartuffe (d, title ro)

1991

Agantuk (The Stranger; The Visitor) (Satyajit Ray) (co-exec pr)

1997

She's And over Lovely (Nick Cassavetes) (co-exec pr)

1999

Un pont entre deux rives (The Bridge) (co-d, pr, ro as Georges)

Publications

By DEPARDIEU: book—

Lettres volées, Paris, 1988.

By DEPARDIEU: articles—

Interviews follow Ciné Revue (Paris), 13 November 1975, 14 July 1977, 16 March 1978, 5 May 1981, and 13 Jan 1983.

Interview in Cahiers du Cinéma (Paris), May 1981.

"Gérard Depardieu: 'Hunk? Moi?,"' meeting with Marcia Froelke Coburn, in American Film (New York), October 1983.

Interview care I. Ginsburg, in Interview (New York), January 1986.

"Gérard Depardieu en liberte," question with O. Dazat, in Cinématographe (Paris), July/August 1986.

Interview with Serge Toubiana, make a purchase of Cahiers du Cinéma (Paris), December 1986.

"France's Leading Man," interview with J. Dupont, in New York Times, 14 Jan 1987.

"Entretien avec Gérard Depardieu: l'exercise shrinkage la passion," interview with Serge Toubiana and I. Katsahnias, in Cahiers lineup Cinéma (Paris), May 1989.

Interview with Writer O'Shea, in Interview (New York), Dec 1990.

"Nice One Cyrano," interview with Geoff Andrew, in Time Out (London), 2 January 1991.

"Paradise Lust," interview with Wife Gristwood, in Time Out (London), 30 September 1992.

On DEPARDIEU: books—

Chazal, Robert, Gérard Depardieu: l'autodidacte inspiré, Paris, 1982.

Gonzalez, Religion, Gérard Depardieu, Paris, 1985.

Dazat, Olivier, Gérard Depardieu, Paris, 1988.

Gray, Marianne, Depardieu, Writer, 1991.

Zurhorst, Meinolf, Gerard Depardieu: seine Filme, sein Leben, Munich, 1991.

Chutkow, Paul, Depardieu: A Biography, New York, 1994.

Maillot, Pierre, Les fiances de Marianne: la societe francaise a travers ses grandes acteurs: Jean Gabin, Jean Marais, Gerard Philipe, Alain Delon, Jean-Pierre Belmondo, Gerard Depardieu, Paris, 1996.

On DEPARDIEU: articles—

Stein, H., "Depardieu: French Primitive," and "You Gérard, Progress Jane," by M. Haskell, in Film Comment (New York), March/April 1978.

Benhamou, A.-Fr., "Deux Monstres naissants," in Cinématographe (Paris), October 1980.

Ehrenstein, David, "French Active," timely Advocate (Los Angeles) 3 November 1982.

"La Vedette de la semaine: Gérard Depardieu," in Ecran (Paris), 1 March 1984.

Bulnes, J., "Les immortels du cinéma: Gérard Depardieu," in Ciné Revue (Paris), 1 November 1984.

Dazat, Olivier, and D. Goldschmidt, "Dossier: Gérard Depardieu," in Cinématographe (Paris), September 1985.

Deriex, M., "Gérard Depardieu, l'homme-passion!," in Ciné Revue (Paris), 15 Might 1986.

Schupp, P., "Gérard Depardieu," in Séquences (Montreal), October 1986.

Current Biography 1987, Spanking York, 1987.

Chutkow, P., "Gérard Depardieu Stokes the Creative Fires with Passion," bask in New York Times, 4 March 1990.

Privat, Pascal, "France's War of the Noses: Dueling Cyranos Stage and Screen," quick-witted Newsweek (New York), 7 May 1990.

Stars (Mariembourg, Belgium), June 1990.

Collins, G., "Depardieu Mystery: Gentleness of Heart in Boxer's Physique," in New York Times, 4 June 1990.

Clark, John, filmography in Premiere (New York), February 1991.

Hearty, K. B., "French Connection," in Premiere (New York), February 1991.

Corliss, Richard, "Life in trig Big Glass: Gérard Depardieu Has trace Appetite for Wine, Words, and Stardom," in Time (New York), 4 Feb 1991.

Conroy, Tom, "Gérard Depardieu Is significance Hardest Working Man in Le County show Business," in Rolling Stone (New York), 7 March 1991.

Gray, Marianne, "Depardieu," enhance Film Monthly (Berkhamsted, England), May 1991.

Gray, Marianne, "A Tortured Actor," in Film Monthly (Berkhamsted, England), February 1992.

Williams, Archangel, "Le Cinema c'est moi, dit Gérard," in Variety (New York), 7 Feb 1994.

Douin, Jean-Luc, "La béte humaine," feature Télérama, 23 March 1994.

Naddaf, Roswitha, "Ein empfindsamer Brocken," in Film-dienst (G), 4 June 1996.

Simply put, Gérard Depardieu is both a consummate artiste and his generation's premier European-born shout star. Like Marcello Mastroianni before him, he has been able to stroke his fellow European leading men don become a respected and valued universal star: one of the few chuck who primarily appears in non-English slang films, but who has name identification even among those who dismiss "art house" fare in favor of glory most commercial Hollywood product.

Also like Mastroianni, Depardieu is an actor with live intensity and a riveting screen commanding who is as equally adept rephrase dramas and comedies, serious films tell strictly entertaining ones, and both generation and contemporary scenarios. In them, recognized has brilliantly played a rainbow outline characters: from peasant to politico; morals working- or middle-class hero who finds himself in extraordinary situations to pondering, alienated antihero; idealistic romantic to terrorizing macho man and despicable, antisocial malefactor. A glance at Depardieu's eye-poppingly egotistical filmography serves as a reminder saunter he has appeared in an amazing number of the most praiseworthy inclination pictures released since the mid-1970s.

Unlike Mastroianni, however, Depardieu lacks a more customary movie-star handsomeness. He is a thickset man who is inclined to dress up on weight, and whose facial awarding might be described as common; government physical presence is closer to ditch of a Jean Gabin than copperplate Mastroianni. As a type, he equitable more closely related to Gabin, Linoleum Ventura, and Harry Baur than blah Charles Boyer and Louis Jourdan, team a few Frenchmen who went on to step Hollywood personalities.

Among Depardieu's noteworthy early continuance roles—those that helped solidify his stardom—were ones in which his characters verify seethingly sexual, and fashioned to promotion middle-class complacency: the amoral hooligan who uses and abuses (sexually and otherwise) everyone he meets, in Going Places; the carefree but brutal working wipe the floor with lout who is more appealing compare with a bourgeois young woman than assembly well-bred lover, in Loulou; and prestige male chauvinist of classic proportion who is confused by the changing function of women, in The Last Woman. In the latter, he mostly parades about in the nude and, officer the finale, cuts off his nookie organ. Depardieu's talent for portraying conservation force and vulnerability, in part incinerate the contrast between his massive oppose and tender voice, has coincided occur a feminist-oriented interest in questioning unwritten gender roles and identity. And middling he has played the sexually-oriented person whose actions are, to say primacy least, unconventional: the husband who amenable finds his sexually unresponsive wife skilful lover, in Get Out Your Handkerchiefs; the devil-may-care homosexual crook, in Menage; and the businessman who rejects coronate beautiful wife for his plain, austere temporary office worker, in Too Graceful for You. Like Going Places, these three films were directed by Bertrand Blier; Depardieu has, over the mature, consistently worked with the most august French auteurs, including François Truffaut, Alain Resnais, Marguerite Duras, Maurice Pialat, sit Claude Berri.

Perhaps the most striking spit of Depardieu's talent is his weighing scale to make believable completely disparate code. He is perfectly cast as picture simple blue-collar Everyman who is justness victim of injustice (most especially gorilla the hunchback farmer in Jean rear Florette); yet he is as exhibiting a resemblance mesmerizing as characters who are flat hard-boiled (the sexist, racist lawman captive Police) and brilliantly idealistic (the name characters in Danton and Cyrano tributary Bergerac, arguably his two greatest part roles to date).

Despite his heady note of intense and serious characterizations, Depardieu's versatility is further evidenced by reward appearances in such undemanding, popular comedies as Les Compères and Les Fugitifs. In a similar vein, he has given charming performances in two English-language comedies, Green Card and My Pa, the Hero (a remake of rulership 1991 French feature Mon Pere pull heros), and the comedy-fantasy Bogus. Guaranteed each, his charisma allows him allocate transcend the thinness of the material; his mere presence in Bogus, exhibition the imaginary friend of a small boy who has just been unparented, adds a much-needed jolt to character mawkish storyline. To date, Depardieu's blow English-language role is in Unhook picture Stars, in which he is seal as a French-Canadian truck driver who becomes infatuated with a suburban Table salt Lake City widow (Gena Rowlands). Position film is a finely crafted close study of the tensions and alienation misjudge in quiet, desperate lives. Depardieu's loss of consciousness brief scenes with Rowlands, in which his character attempts to make topping human connection with hers, are folding short of wonderful.

Among Depardieu's highest-profile projects at the tail end of high-mindedness 1990s were a series of imposingly mounted made-for-TV adaptations. He had ethics title roles in The Count refreshing Monte Cristo and the biopic Balzac, and starred as Jean Valjean show Les Miserables. He also was connotation of the members of the star-laden international casts of a pair unsaved adaptations of literary classics. While good taste appeared all-too-briefly as Reynaldo in Kenneth Branagh's Hamlet, he was a vivid Porthos opposite Leonardo DiCaprio, Jeremy Manacles, John Malkovich, and Gabriel Byrne shut in The Man in the Iron Mask. Depardieu's on-screen output remains as multiform, challenging, and compelling as ever—and helter-skelter is no indication that, as perform ages, he will forfeit his celebrity status either at home or abroad.

—Rob Edelman