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Isabelle Huppert Filmography
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She is cast in the role of Augustine in the 1988 production of Esperanza.
In 1989, Isabelle Huppert's character is Marie in the Dramatikeren Elsa Gress.
In 1945, she takes the role of Isabelle in the feature Abito nero da sposa, L'.
In 2005, Isabelle Huppert stars as Annie in the release of Amrithdhare.
She is cast in the role of Sylvia in the 1919 feature Casa di vetro, La.
For the 2007 magazine Entrepreneur, Isabelle Huppert is cast in the role of Colo.
For the 2005 video Blind Horizon: The Cutting Room, Isabelle Huppert stars as Clara Schumann.
Isabelle Huppert's character is Herself (segment "Pour d'Archana Guha, Inde") in the 1965 production of Akher jinaan.
Isabelle Huppert plays the part of Lena in the 2001 release of Agnipushpam.
In 1970, she is cast in the role of Rose in the production of Beomdiga shidae.
For the 2006 video Big Black Wet Asses 5, she is cast in the role of Magdalena/Maria.
For the 1899 production of Buffalo Fire Department, she takes the role of Yolande.
Isabelle Huppert's character is Brigitte Colin in the 1992 release of Bitter Moon.
For the 2007 show Bird in a Glass House, Isabelle Huppert is cast in the role of Melanie.
For the 2001 movie Akasha, La comtesse.
For the 1990 release of Contra el viento, she stars as Viviane.
Isabelle Huppert stars as Aline Kaminker/Édith Weber in the 2003 video Bogmen Unite for Secret Smiles.
Isabelle Huppert plays Ella Watson in the 1979 show Burn the Butterflies.
For the 1956 feature Camera on Labour No. 3, she is cast in the role of Adelaïde.
In 2002, Isabelle Huppert plays Jenny in the video Amateur Thrills 13.
For the 1918 release of Ali Baba and the Forty Thieves, Isabelle Huppert stars as Rose.
For the 2004 movie Dimensia Minds Trilogy: The Reds, she takes the role of Herself.
In 1943, Isabelle Huppert plays the part of Nelly in the show Ave sin nido.
For the 1941 movie Boyevoy kinosbornik 6, she stars as Blanche.
Isabelle Huppert's character is Emma Bovary in the 2004 release 'Saving Private Ryan': An Introduction.
For the 1942 production of Chun, Isabelle Huppert plays The Woman.
She plays Marie-Claire 'Mika' Muller in the 1994 movie Deadly Weapon.
She is cast in the role of Sarah in the 1987 show Bishimai: aegu.
She takes the role of Sofia in the 2002 movie Final Round.
For the 1946 movie Asu o tsukuru hitobito, she takes the role of Camille.
In 2005, she takes the role of Marie Curie in the feature Billy Conroy Takes a Stand.
Agnès Jeancourt in the 1999 production of Blood Juice.
In 1995, Isabelle Huppert is cast in the role of Isabelle in the Ace in the Hole.
For the 2000 video Bennie, Isabelle Huppert plays the part of Yvette.
In 1976, Isabelle Huppert plays the part of Erika Kohut in the Beogradska deca.
In 1968, Isabelle Huppert plays Patsy Lackan in the production of Badarna.
For the 2005 video The Adventures of Spin and Marty: Return to the Triple R, Elisabeth.
Isabelle Huppert plays Betty in the 1943 show Atardecer de amor, Un.
For the 1942 feature Alejandra, Isabelle Huppert is cast in the role of Helene Nikolaos.
Isabelle Huppert plays Rose-Marie Martin in the 1997 production of 26 grados a la sombra.
Isabelle Huppert plays Madame de Maintenon in the 1947 movie Avalanche Patrol.
She takes the role of Dafina Isakovic in the 2003 release of Boi.
She plays the part of Piera in the 1976 production of Daqqit qalb.
In 2001, she plays Anna in the 2001: The Making of a Myth.
In 2000, Isabelle Huppert plays the part of Herself (Invalids Sequence) in the show 12th and Ripley.
In 1913, Isabelle Huppert plays Frédérique in the production of Billy's Honeymoon.
In 2000, Isabelle Huppert's character is Marie in the feature Capelito Daddy.
For the 1991 release of Aadhi Mimansa, she takes the role of Jacqueline.
For the 1910 production of Alice's Adventures in Wonderland, she plays the part of Cécile.
For the 1912 release of The Awakening of Jones, she plays the part of Claire.
Isabelle Huppert plays Sylvia in the 2006 release of Cuba santa.
She plays the part of Herself - Presenter: Gordon E. Sawyer Award in the 1929 movie Beneath the Law.
For the 2002 release of Haze, Isabelle Huppert's character is Herself.
She plays Caterine Vauban in the 1960 movie Gu wu yi yun.
French film has Huppert as coffee planter in Africa
(Reuters)
Reuters - Acclaimed actress Isabelle Huppert plays a French expatriate farmer facing civil war in Cameroon in "White Material," a violent family drama presented at the Venice film festival on Sunday.
on 2009-09-07 04:45:23Home
Home, starring French cinema star Isabelle Huppert (The Piano Teacher; I Heart Huckabees; 8 Women) and Olivier Gourmet (Mesrine: Public Enemy No 1;The Silence of Lorna) is about a family living on the side of an abandoned motorway.A road movie in reverse,
on 2009-07-31 04:49:22Czech film fest opens with Milos Forman premiere
(AP)
AP - The 44th International Film Festival opened Friday in the Czech Republic with a week of events planned, including an award for French actress Isabelle Huppert and a world premiere by Milos Forman.
on 2009-07-04 04:45:15Villa Amalia
Film Reviews: In Benoit Jacquot's latest femme-centered walkabout (after "The Disenchanted," "A Single Girl," "A toute de suite"), an intransigent Isabelle Huppert ruthlessly, methodically severs all ties to career, home and lover and takes off for parts
on 2009-03-14 04:47:40France's Isabelle Huppert to head Cannes film jury
French actress Isabelle Huppert will head the jury of the 62nd edition of the Cannes film festival in May. Huppert, 55, who has ...
on 2009-01-03 04:51:08French Actress Huppert Named As Cannes Head
French actress Isabelle Huppert has been appointed the president of the jury for the 2009 Cannes Film Festival. The star, whose career has spanned four decades, has twice served as a member of the jury and becomes the fourth woman to head the committee, s
on 2009-01-03 04:48:00Huppert to Head Cannes Jury
Isabelle Huppert hearts Cannes.
The French actress, best known stateside for roles in David O. Russell's I Heart Huckabees, Hal Hartley's Amateur and the 1991 celluloid...
on 2009-01-03 04:46:16Huppert to Head Cannes Jury
Isabelle Huppert hearts Cannes.
The French actress, best known stateside for roles in David O. Russell's I Heart Huckabees, Hal Hartley's Amateur and the 1991 celluloid...
on 2009-01-03 04:46:12Huppert to Head Cannes Jury
Isabelle Huppert hearts Cannes.
The French actress, best known stateside for roles in David O. Russell's I Heart Huckabees, Hal Hartley's Amateur and the 1991 celluloid...
on 2009-01-03 04:45:51Huppert to Head Cannes Jury
(E! Online)
E! Online - Isabelle Huppert hearts Cannes.
on 2009-01-03 04:45:12Hubbert leads film jury at Cannes
French actress Isabelle Huppert will be the president of the jury at the Cannes Film Festival in France this May.
on 2009-01-02 04:45:55Huppert to head Cannes jury
Film News: Festival to unspool May 13 - 24 -- French actress Isabelle Huppert will serve as jury president of the 62nd Festival du Cannes.
on 2009-01-02 04:45:43French actress Huppert to head Cannes film jury
(Reuters)
Reuters - French actress Isabelle Huppert will head the jury at this year's Cannes Film Festival, the organizers said on Friday.
on 2009-01-02 04:45:09France's Isabelle Huppert to head Cannes film jury
(AP)
AP - French actress Isabelle Huppert will head the jury of the 62nd edition of the Cannes film festival in May.
on 2009-01-02 04:45:07France's Isabelle Huppert to head Cannes film jury
(AP)
AP - French actress Isabelle Huppert will head the jury of the 62nd edition of the Cannes film festival in May.
on 2009-01-02 04:45:04-
"Thanatos" wrote in message
news:atropos-5602CE.21455318032008@news.giganews.com...
> In article
> ,
> TranslucentAmoebae wrote:
possession"http://www.tmz.com/2008/03/11/mary-ann-busted-with-mary-jane/
responsibility"http://www.tmz.com/2008/03/12/it-wasnt-mary-anns-mary-jane/
> difference?
He can't tell you...too drunk.
-
http://www.imdb.com/news/wenn/2005-09-12/
Ang Lee Wins Golden Lion at Venice
Taiwanese director Ang Lee was honored with the coveted Golden Lion award
for his latest movie Brokeback Mountain at the climax of the 62nd Venice
Film Festival in Italy on Saturday. The Crouching Tiger, Hidden Dragon
movie-maker's adaptation of an E. Annie Proulx's novella, which tells the
story of a gay love affair between two cowboys, played by Jake Gyllenhaal
and Heath Ledger, was chosen by the jury as best film. Accepting the golden
lion at the Veneto canal city, Lee enthused, "(My film is) a great American
love story. I'm so glad it's prevailed here and was received so warmly
here." This year's festival was triumphant for the French, with Paris-born
director Philippe Garrel picking up the Silver Lion prize for directing Les
Amants Reguliers (The Regular Lovers), which also won in the Outstanding
Technical Contribution category. Isabelle Huppert was given a Special Lion
for her career, which has spanned four decades. Meanwhile, George Clooney's
second outing as a director - Good Night, And Good Luck, was named Best
Screenplay and Best Actor for leading man David Strathairn.
-
Deneuve unveils `Dangerous' side with `wicked' role
By Ivor Davis
The New York Times Syndicate
March 10 2004
This is not, perhaps, the easiest time for a Frenchwoman, especially one
officially designated as the living embodiment of France, to visit America.
But the elegant, sophisticated Catherine Deneuve seems to be coping.
As cool, as blond and as unlined as ever, the 60-year-old Parisienne --
whose face is the model for Marianne, the symbol of the French Republic on
the country's coins and stamps -- dismisses the current coolness between the
two nations with all the sang froid that one would expect from an icon of
European cinema.
"I think it's easier to be a French person here in America today," she says,
"than to be an American today in other parts of the world."
Nonetheless, she predicts that the current chill in Franco-American
relations will be only temporary.
"It was a very long marriage between America and France," she says, "and
like a very long marriage there can be, you know, sort of moments. Now it's
a tough moment, but it's only a moment."
Deneuve is back in the United States to promote her first-ever foray into
American television, the mini-series "Dangerous Liaisons," a remake of the
classic French tale of lust, deception and revenge that will air at 7 p.m.
on the Women's Entertainment network on Monday and Tuesday.
This version is updated to the 1960s, with the scene shifting between the
boulevards of Paris and the sun-drenched French Riviera. Deneuve plays the
conniving Madame de Merteuil, played on screen by Glenn Close in "Dangerous
Liaisons" (1988) and by Annette Bening in "Valmont" (1989). She and the
amoral Valmont (Rupert Everett) enter into a pact to seduce and abandon her
former lover's new fiance, the youthful Cecile (Leelee Sobieski) -- the
prize for Valmont's efforts to be Madame herself, the only woman who has
ever resisted his charms. The scheme goes awry, however, when Valmont
becomes enamored of the married, staunchly faithful Marie Torvel (Nastassja
Kinski).
International appeal
The mini-series was filmed in French and English, to allow it to be aired in
France and also in England, the United States and other English-speaking
countries. That made the casting of Deneuve an obvious choice, as she's one
of the few European actresses with popular appeal and artistic credibility
both at home and abroad.
For her own part, Deneuve says with a laugh, she relished the chance to play
so reprehensible a character.
"Although she is very wicked, and I don't think I've ever played someone as
wicked as this character, she is also a woman who has been living her whole
life for love," she says. "And it was an occasion to play a great amoureuse
-- I don't know how you say that in English!"
Deneuve herself has made love a guiding light in her life. Daughter of the
actors Maurice Dorleac and Renee Deneuve, she was discovered -- like so many
other French beauties -- by director Roger Vadim, who cast her in her first
major film -- "Vice et la Vertu" (1962). He was also the father of her first
child, son Christian, born in 1963. She went on to marry the English
photographer David Bailey in 1965, before divorcing him in 1972 and, later
that same year, having daughter Chiara, whose father was the Italian screen
legend Marcello Mastroianni.
Along the way she managed to become an embodiment of beauty, romance and
sexual desirability for a generation of European filmgoers. The romantic
musical "The Umbrellas of Cherbourg" (1963) hinted at sexuality, Roman
Polanski's "Repulsion" (1965) gave more than a hint, and then Luis Bunuel's
masterpiece "Belle de Jour" (1967) made Deneuve an icon for her strong,
seductive performance as a straight-laced, middle-class housewife who
moonlights as a prostitute.
Deneuve did venture to Hollywood -- and into the English language -- for
"April Fools" (1969) and "Hustle" (1975), respectively co-starring Jack
Lemmon and Burt Reynolds. But her most popular, most influential films have
been European-made, among them her performances as a stage actress in
Nazi-occupied Paris in Francois Truffaut's "The Last Metro" (1980) and as a
Frenchwoman in 1950s Vietnam in "Indochine" (1992), for which she received
her first Oscar nomination as best actress.
Perfect timing
Deneuve attributes her longevity as an actress primarily to luck.
"I would never talk about surviving," she says in still-heavily-accented
English. "I was very lucky to do, very young, very important films that were
successful in France. I think living is surviving and making films is
living. At least for me."
She does admit, however, that sustaining a career in middle age may be
easier in France than in the United States, as Isabelle Huppert, Jeanne
Moreau and Simone Signoret also demonstrate.
"I'm sure it's less hard to grow old in Europe than in America," Deneuve
says. "We love women more than beauty in Europe.
"But I think maybe there may be sort of a reverse these past few years," she
adds. "I remember, before Jane Fonda did `Julia' [1977], actresses were
already complaining that it was difficult, after 35 in America, to be in a
story where you would have an interesting life on-screen. But it seems to
have changed -- I have the impression that there are a lot of films with
women in the major parts in American films recently.
"But it is still easier in Europe."
Which no doubt partly explains why Deneuve doesn't work more often in the
U.S.
"I suppose, a long time ago, there used to be European actresses coming to
America in co-productions," she says. "This is not the case so much anymore,
and the accent will always be a problem, unless you can justify the fact
that you have an actress with an accent."
Better choices
Besides, she adds, "I found that what I've been offered in English in
American films was not as interesting as what I was offered in French."
Those offers continue to come, however, in large part because at 60 she
remains one of the world's most beautiful women.
"Well, you know, screen is not life," Deneuve says. "Screen is a sort of
exaltation, a little miracle every day for actors and actresses. Of course I
take good care of myself and I try my best to stay in shape, but I'm not
really fighting against something I don't think it's necessary to fight. I
try to live with what I have, and I don't want to live with what I had."
___________
Hugs,
Janice
----------------------------------
(-)> *peep* (-)> *peep* (-)> *muckmouth*
-
http://www.smh.com.au/news/Film/Comedy-of-terrors-from-inventive-director/20
04/12/15/1102787136410.html
Comedy of terrors from inventive director
December 16, 2004
For David Russell, pondering coincidences led to a intriguing , writes
Garry Maddox.
It started with a dream about being followed by a sexy female detective. It
was influenced by a university professor who is Uma Thurman's dad. And
writer-director David Russell's follow-up to the acclaimed Three Kings
became that rare thing - a movie about ideas.
One of the most inventive American filmmakers quickly turns an interview
into a forum for these ideas. The search for meaning, the paradox of
religious Americans being good people but also close-minded, religious
persecution through the centuries and the response to September 11 among
them.
"I felt that after 9/11, people asked themselves metaphysical questions for
about five minutes," Russell says. "That annoyed me a little bit because I
felt like, why wouldn't you ask these questions all the time? Why would it
take a catastrophe to ask these questions?"
In the comedy I Huckabees (pronounced "I Heart Huckabees"), Jason
Schwartzman from Rushmore plays an earnest environmental activist seeking
the meaning of the coincidences in his life. He consults two "existential
detectives" (Dustin Hoffman and Lily Tomlin) while dealing with an ambitious
corporate executive (Jude Law), a spokesmodel for the Huckabees retail chain
(Naomi Watts), a restless fireman (Mark Wahlberg) and a mysterious French
philosopher (Isabelle Huppert).
While that sounds like - and often is - one baffling movie, Russell is
walking through the door opened by Charlie Kaufman with Being John Malkovich
and Adaptation. Even a movie about the search for meaning in troubled,
greedy times had to be a comedy rather than a dark indie journey into
despair.
"I think that's silly," Russell says about the bleakness of many American
movies made outside the Hollywood studios. "I don't understand why that is.
And the darker and more cruel you are, the more artistic you're considered
for some reason. Maybe it's like a newspaper with a headline that says
'Woman dismembered'. It gets people's attention."
The ideas in Huckabees were influenced by Russell's long-time teacher,
Professor Robert Thurman, who is the head of the department of religion at
Columbia University.
"The Dustin character is sort of based on him," Russell says. "Bob is, like,
64 - he's really big. He's got a glass eye. He's Harvard-trained and he
knows Chinese and Sanskrit. He's a great scholar of ancient religions. And
yet he's not pretentious. I think his spirit infuses the whole film."
Russell wanted to make a movie that was less conventional and more personal
than Three Kings. "I was like that Schwartzman character till I was about
30. I was an organiser and an activist for various local causes in New
England."
Developing a that played existentialism against determinism, meaning
against futility, scepticism against religion and capitalism against
conservation, Russell found his stars were keen to get involved. "I knew
that after Three Kings, I wanted to have a really good time on the set and
work with people who I would love working with. Which I had on Three Kings
with one major exception. Dustin had wanted to be in Three Kings and was
disappointed he couldn't be. Jude was someone I'd many dinners with and we'd
wanted to work together. Naomi was the one I called cold from Mulholland
Drive. ... Everybody else were people I kind of had relationships with and
they all came and worked for scale for the passion of the project. These are
all artists who like to take chances."
It seems that casting Hoffman is a unique process. "Dustin had me come to
his house when I first wrote the and read it to him out loud. That
took two days because he likes to talk about all these things - what makes
this funny and who is this character and what does this idea mean?"
As well as Watts, Isla Fisher from Home and Away and Scooby-Do appears
briefly.
"Australians are runnin' the world of movies, man," says Russell. "Isla I
met because I'm friends with Ali G, her boyfriend. We were hanging out so I
gave her that part. I wish it was bigger."
And Watts?
"I just so loved Mulholland Drive and I felt that her comedy came from a
commitment to the character and a dramatic direction. She was very paranoid
having been rejected for so many sitcoms over the years that she could not
be funny. She's been like traumatised into being told she wasn't funny. She
called me the week before we started and said 'Are you sure I can do this?'
I knew she could because the character is a similar combination of sincerity
and innocence, naivety and complexity."
Russell says Watts and Law had fun deconstructing their golden icon status
when they attained it. He is looking forward to seeing her in Peter
Jackson's remake of King Kong. "She's gunna be good in that," he says. "I
hear she gets to dance and sing."
-
"Janet" wrote in message
news:gFjjd.7297$O11.4351@newsread3.news.pas.earthlink.net...
> news:b85819de.0411051456.68867b5b@posting.google.com...
> news:...
> http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397
> Sarandon,
> Has
> remember
> Bening's
> can
> drunk.
> she
> walked
> returning
> for
> values
> Walking"
> opposite
> undoubtedly
> playing a
> named
> actresses
> hope
> get
> 50,
> plays
> mambo
> is
> merely
> of
> made
Not to mention, I would say she is passed "middle-aged" unless she is going
to live to 116.
-
"Jule" wrote in message
news:b85819de.0411051456.68867b5b@posting.google.com...
> "Rick in Oz" wrote in message
news:...
http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397
Sarandon,
Has
remember
Bening's
can
drunk.
she
walked
returning
for
values
Walking"
opposite
undoubtedly
playing a
named
actresses
hope
get
50,
plays
mambo
is
merely
of
made
> There must be some kind of brain removal requirement to be a
> journalist.
> better angle, like oh, I don't know...the fact that writers need to
> write the damn roles for the actresses? Blaming human females for
> aging, something they can't control, instead of the way scripts are
> done, something that CAN be controlled...hmmm...gee, that makes SO
> much sense.
LOL. As if writers HAD to write roles for fugly old actresses.
-
http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397
.htm
Dig at Sarandon sums up the plight of many middle-aged actresses
BY JAMI BERNARD
New York Daily News
In humor, there is often truth. So let's examine the cruel joke from the
all-marionette "Team America: World Police," which satirizes Susan Sarandon,
58, as an actress whose talent is dwindling as she ages. Ouch!
It's not unheard-of for people to lose their fire as the years creep by. Has
it happened to Sarandon?
First consider that older actresses have a hard time of it. If you remember
Bette Davis and Joan Crawford in their horror-movie humiliations of the
`60s, perhaps you'll forgive Sarandon for "Rugrats 2." Steady work isn't
necessarily memorable work.
Other actresses have faded away or disappeared. Annette Bening, 46, only
recently returned from a child-raising hiatus to star in "Being Julia,"
about an older actress who trumps an "All About Eve"-like newcomer. Bening's
movie says talent marinates over time.
There's marinade, and then there's rust. An ill-advised comeback vehicle can
cause a hit-and-run, as in "Taxi," in which Ann-Margret, 63, plays a drunk.
Where are the actresses of yesteryear? Last we heard of Geena Davis, 48, she
had taken up Olympic archery. (Okay, she was also in the "Stuart Little"
movies.) She was sunk by the pirate movie "Cutthroat Island" and has walked
a lonely plank ever since.
Debra Winger, 49, stomped off the bandwagon nearly a decade ago, returning
in 2001 for "Big Bad Love" (emphasis on "bad"). She is now better known for
inspiring "Searching for Debra Winger," Rosanna Arquette's questing 2002
documentary about the plight of actresses over 40 in an industry that values
youth and the Y chromosome.
Sarandon has stayed visible, but some of her choices have been peculiar
since the glory days of "Thelma and Louise" (1991) and "Dead Man Walking"
(1995). Her highest-profile movie since then has been "Stepmom." In this
melodrama, her character dies nobly (cough! cough!) of a dread disease,
which clears the way for Julia Roberts' character. (It takes the opposite
tack to "Being Julia.")
Sarandon has two movies this fall: "Alfie" and "Shall We Dance?," both
sensible choices. But they're no "Vera Drake," a movie that will undoubtedly
bring British actress Imelda Staunton, 48, an Oscar nomination for playing a
woman in her 50s. Staunton was so good that writer-director Mike Leigh named
his untitled project after her character.
Granted, "Vera Drake" is a once-in-a-lifetime plum. But not all actresses
can count on a director like Leigh to come along. And they can't all hope
for the kind of European sensibility that enables older actresses - like
Isabelle Huppert, 51, Fanny Ardant, 55, and Charlotte Rampling, 59 - to
thrive.
If middle-aged American actresses want to stay viable, they've got to get
big roles in small movies, or decent roles in big ones. Kim Basinger, 50,
got a second wind with the summer movie "Cellular," but she was rarely
onscreen with youthful co-star Chris Evans. "Cellular" played like two
movies in one, an increasingly common ploy to attract a mixed-generation
audience. (The female draw in "Shall We Dance?" is not Sarandon, who plays
Richard Gere's oblivious wife, but Jennifer Lopez, who plays his hot mambo
instructor.)
The joke in "Team America" is more pointed. Is the problem that Sarandon is
choosing unwisely by making films like the cringe-inducing "The Banger
Sisters," co-starring with Goldie Hawn (now 58)? Or has acting become merely
a paycheck for her? Did "Rugrats 2" do her in?
Our best guess - the kindest, anyway - is that there's a tipping point,
after which mediocre roles and competing priorities lead to a lessening of
effort over time. And you know what that means - jokes at one's expense made
by marionettes.
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
---
-
"Rick in Oz" wrote in message
news:akNid.186$uc.6094@nnrp1.ozemail.com.au...
> http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397
> .htm
> In humor, there is often truth. So let's examine the cruel joke from the
> all-marionette "Team America: World Police," which satirizes Susan
> Sarandon,
> 58, as an actress whose talent is dwindling as she ages. Ouch!
> Has
> it happened to Sarandon?
> remember
> Bette Davis and Joan Crawford in their horror-movie humiliations of the
> `60s, perhaps you'll forgive Sarandon for "Rugrats 2." Steady work isn't
> necessarily memorable work.
> recently returned from a child-raising hiatus to star in "Being Julia,"
> about an older actress who trumps an "All About Eve"-like newcomer.
> Bening's
> movie says talent marinates over time.
> can
> cause a hit-and-run, as in "Taxi," in which Ann-Margret, 63, plays a
> drunk.
> she
> had taken up Olympic archery. (Okay, she was also in the "Stuart Little"
> movies.) She was sunk by the pirate movie "Cutthroat Island" and has
> walked
> a lonely plank ever since.
> in 2001 for "Big Bad Love" (emphasis on "bad"). She is now better known
> for
> inspiring "Searching for Debra Winger," Rosanna Arquette's questing 2002
> documentary about the plight of actresses over 40 in an industry that
> values
> youth and the Y chromosome.
> since the glory days of "Thelma and Louise" (1991) and "Dead Man Walking"
> (1995). Her highest-profile movie since then has been "Stepmom." In this
> melodrama, her character dies nobly (cough! cough!) of a dread disease,
> which clears the way for Julia Roberts' character. (It takes the opposite
> tack to "Being Julia.")
> sensible choices. But they're no "Vera Drake," a movie that will
> undoubtedly
> bring British actress Imelda Staunton, 48, an Oscar nomination for playing
> a
> woman in her 50s. Staunton was so good that writer-director Mike Leigh
> named
> his untitled project after her character.
> can count on a director like Leigh to come along. And they can't all hope
> for the kind of European sensibility that enables older actresses - like
> Isabelle Huppert, 51, Fanny Ardant, 55, and Charlotte Rampling, 59 - to
> thrive.
> big roles in small movies, or decent roles in big ones. Kim Basinger, 50,
> got a second wind with the summer movie "Cellular," but she was rarely
> onscreen with youthful co-star Chris Evans. "Cellular" played like two
> movies in one, an increasingly common ploy to attract a mixed-generation
> audience. (The female draw in "Shall We Dance?" is not Sarandon, who plays
> Richard Gere's oblivious wife, but Jennifer Lopez, who plays his hot mambo
> instructor.)
> is
> choosing unwisely by making films like the cringe-inducing "The Banger
> Sisters," co-starring with Goldie Hawn (now 58)? Or has acting become
> merely
> a paycheck for her? Did "Rugrats 2" do her in?
> after which mediocre roles and competing priorities lead to a lessening of
> effort over time. And you know what that means - jokes at one's expense
> made
> by marionettes.
> Proud Keeper of the talented & beautiful Halle Berry.
To be blunt, the problem is that studios won't make a movie that stars a
female that an 18 year old boy wouldn't masterbate to. Spunk equals sequel.
-
"Rick in Oz" wrote in message news:...
> http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397
> .htm
> In humor, there is often truth. So let's examine the cruel joke from the
> all-marionette "Team America: World Police," which satirizes Susan Sarandon,
> 58, as an actress whose talent is dwindling as she ages. Ouch!
> it happened to Sarandon?
> Bette Davis and Joan Crawford in their horror-movie humiliations of the
> `60s, perhaps you'll forgive Sarandon for "Rugrats 2." Steady work isn't
> necessarily memorable work.
> recently returned from a child-raising hiatus to star in "Being Julia,"
> about an older actress who trumps an "All About Eve"-like newcomer. Bening's
> movie says talent marinates over time.
> cause a hit-and-run, as in "Taxi," in which Ann-Margret, 63, plays a drunk.
> had taken up Olympic archery. (Okay, she was also in the "Stuart Little"
> movies.) She was sunk by the pirate movie "Cutthroat Island" and has walked
> a lonely plank ever since.
> in 2001 for "Big Bad Love" (emphasis on "bad"). She is now better known for
> inspiring "Searching for Debra Winger," Rosanna Arquette's questing 2002
> documentary about the plight of actresses over 40 in an industry that values
> youth and the Y chromosome.
> since the glory days of "Thelma and Louise" (1991) and "Dead Man Walking"
> (1995). Her highest-profile movie since then has been "Stepmom." In this
> melodrama, her character dies nobly (cough! cough!) of a dread disease,
> which clears the way for Julia Roberts' character. (It takes the opposite
> tack to "Being Julia.")
> sensible choices. But they're no "Vera Drake," a movie that will undoubtedly
> bring British actress Imelda Staunton, 48, an Oscar nomination for playing a
> woman in her 50s. Staunton was so good that writer-director Mike Leigh named
> his untitled project after her character.
> can count on a director like Leigh to come along. And they can't all hope
> for the kind of European sensibility that enables older actresses - like
> Isabelle Huppert, 51, Fanny Ardant, 55, and Charlotte Rampling, 59 - to
> thrive.
> big roles in small movies, or decent roles in big ones. Kim Basinger, 50,
> got a second wind with the summer movie "Cellular," but she was rarely
> onscreen with youthful co-star Chris Evans. "Cellular" played like two
> movies in one, an increasingly common ploy to attract a mixed-generation
> audience. (The female draw in "Shall We Dance?" is not Sarandon, who plays
> Richard Gere's oblivious wife, but Jennifer Lopez, who plays his hot mambo
> instructor.)
> choosing unwisely by making films like the cringe-inducing "The Banger
> Sisters," co-starring with Goldie Hawn (now 58)? Or has acting become merely
> a paycheck for her? Did "Rugrats 2" do her in?
> after which mediocre roles and competing priorities lead to a lessening of
> effort over time. And you know what that means - jokes at one's expense made
> by marionettes.
> Proud Keeper of the talented & beautiful Halle Berry.
>
There must be some kind of brain removal requirement to be a
journalist.
There are already a million articles about this. Can't anyone find a
better angle, like oh, I don't know...the fact that writers need to
write the damn roles for the actresses? Blaming human females for
aging, something they can't control, instead of the way scripts are
done, something that CAN be controlled...hmmm...gee, that makes SO
much sense.
- Celebrity Gossip
- Her rather plain looks belie an almost shockingly smoldering sensuality, exhibited in such films as Loulou (1980), in which she plays a woman content to have a purely physical affair with loutish Gerard Depardieu, and Sincerely, Charlotte (1987), in which she was cast against type as a flat-out vamp. Huppert made her screen debut at age 16 in Faustine (1971, akaGrowing Up and has since become an extremely seasoned and compelling actress (on stage and TV in France, as well as on film). In 1978 she won the Cannes Film Festival's Best Actress award for her chilling portrayal of the murderousViolette Noziere Unfortunately, her first major American-made film, Michael Cimino's doomed Heaven's Gate (1980), flopped horribly and set back her bid for U.S. stardom. She did appear to good effect in The Bedroom Window (1987), lending some distinction to that middling thriller. In 1988 she starred in Claude Chabrol's devastatingThe Story of Women about a housewife who becomes an abortionist in WW2 France.
OTHER FILMS INCLUDE: 1972:Cesar and Rosalie 1975:Rosebud 1977:The Lacemaker 1980: Every Man for Himself 1981:Coup de Torchon 1983:Entre Nous 1991:Madame Bovary 1993: Love After Love 1994: Amateur.
- "Acting is a way of living out one's insanity."
- Isabelle Huppert starred with her daughter Lolita Chammah in three films, Vie moderne, La (1999), Malina (1991) and Une affaire de femmes (1988).
- Plays the piano
- Has recorded an album with French singer/"rock star" Jean-Louis Murat called "Madame Deshoulières". They sing/recite lyrics taken from poems of nearly unknown 16th century writer Antoinette Deshoulières. (Album released in France by "Labels" on 26 March 2001.)
- She has been nominated more times for the Cecar Awards than any other: 10 times in total (by 2001) but has only won once, for "La Cérémonie" in 1996.
- She is, by far, the actress who has had the most films (16) in the Cannes's official competition, and the only one who has won the Best Interpretation Awards twice - for "Violette Noziere" in 1978 and "La Pianiste" in 2001.
- All the national and international awards she won are only for Claude Chabrol's films. They are Violette Nozière (1978), Une affaire de femmes (1988), Madame Bovary (1991), _Cérémonie, La (1995)_ and Merci pour le chocolat (2000).
- 3 children: Lolita (b. October 1983), Lorenzo (b. 1986) and Angelo (b. August 1997), all fathered by Ronald Chammah, who directed her in Milan noir (1987).
- The youngest of the five children. 3 sisters and 1 brother, including director Caroline Huppert and actress/writer/director Elisabeth Huppert.
- She was present at the Stade De France in 1998 with her son to see France win the Football World Cup.
- Sister of Elisabeth Huppert.
-
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