Shut up when you speak, If you need anything … let me know and the immortal Where did you get in? We didn’t see you go out : these impossible, oxymoric titles of films will have made much the posterity of Philippe Clair. Died in Paris on Saturday at the age of 90, the actor and director was a registered trademark for nanar franchouillard in the 70s and 80s, moreover successful: in 1982, his More beautiful than me, you die with Aldo Maccione is tenth at the French box office with 3,264,775 admissions, far ahead Mad Max and Blade Runner.
Born Prosper Bensoussan in Ahfir (Morocco), Clair moved to Paris in the 1950s to become an actor, first on the stage, then by writing and playing shows marked by blackfoot humor – a Judeo-Arab comic marked by an accent, a gesture, a jargon and the uprooting of French Algeria. In 1967, he recorded the sketch on disc Nothing Nasser to run, satire of the Six Day War, which will be censored. He quickly finds his way to the cinema in front of and behind the camera with his first feature, Clicks and slaps (1965), prototype of the truth if I lie thirty years later. With the Great Java (1970), he finds spiritual colleagues in Les Charlots in a craft of disarticulated, out of tune burlesque, where a gag is sketched but slips by the coarseness and dissonance of its execution. Punk before its time therefore and despised by the critics.
Read also“The truth”, where did you get in?
Clair thus reached a peak of its kind, of its kind, with The guide in a slide (1974), his broke and anachronistic version of Dictator – and ancestor also of Grandpa is resisting, casually. Henri Tisot (comic known for his imitation of De Gaulle) belches Hitler, organizer of football matches, alongside Alice Sapritch in – technically – Eva Braun. Nothing goes in the film, festival of grimaces and big squinting eyes. A constant in the cinema of Clair, which will make as a logical move to hire the head of Hollywood squinter Jerry Lewis in Where did you get in… (1984) and to make it catastrophic there.
In the 80s, Clair’s success waned in the face of the rise of the humor of the actors of Splendid, less cartoonish, more in touch with French society. His attempt at a more sober and sentimental cinema ends in the failure of his final film The extraordinary adventure of an unusual dad (1989). But the Franchouillarde label may have been unwelcome in a cinema that has promoted metics faces or made the regressive Italian kéké Aldo Maccione a star in France. From Francis Blanche mingling with the Charlots in the Great Java to Alan Silvestri, composer of the soundtracks of Predator, Back to the future and Avengers, parachuted to the music of Where did you get in …, there is always an attempt to transplant generation, culture, perhaps not so far removed from the experience of Pieds-Noirs repatriated to metropolitan France. Hence the other meaning of this “gag” in le guide in foil, where a priest appears in front of three soldiers (in tricolor pajamas) about to be executed by the Germans. “Of course, I am French, I am from Bab El Oued”, he said with a blackfoot accent. He is interpreted by Philippe Clair.
The comedian Karl Dall is dead. He died at 79 years of complications from a stroke. For decades it was always there: stubborn, bulky, unique. Like a rock. From a time when comedians were still called idiot bards.
Er was to blame that when I was twelve I liked being ill. Because I stayed at home feeling sick and tired while the rest of the family flew out to work or to face the seriousness of life with classroom teaching.
As soon as they were out, I felt better as if by magic, and full of passive zest for action, I clicked through the TV program. “Sunshine Reggae on Ibiza” with Karl Dall was shown on RTL. Complete nonsense film – something that was called Klamotte at the time – about an East Frisian farmer cycling who, for some reason, set off for his longing destination Ibiza. The boy was played by Karl Dall, who shouted to his father as he left the farm:
“I’m going to Ibiza!”
“Yeah, but be back for dinner.”
“There’s no pizza, there’s kale!”
The strip played out on the same level. Fantastic. Karl Dall, who probably only pretended he could neither play nor sing, dabbled his way through the film – and came across women who were lightly to barely dressed unusually. Fantastic.
Don’t play properly, don’t sing properly – but always with you
And so typical for him, the comedian from the time when professionals in this genre were still called dumb bards. Not playing properly, not singing properly, but of course being an integral part of the federal republican cultural scene – Karl Dall was like West Germany in the 80s. No, he WAS West Germany in the 80s. The time when the cultural microcosm on German television was somewhere between Modern Talking, Kurt Felix and the German television ballet. Now he died at 79 years of complications from a stroke.
The media counter of the Federal Republic
He was a sidekick with Felix and Paola. Before that, in the 70s, on the road with the comedy band Insterburg and Co. At a time when the word comedy didn’t even exist in Germany. Later then own formats on RTL and Sat.1. Largely spontaneous, say, yes, fellow campaigners like Rudi Carell back then complain. Meticulously prepared? Well timed? If those are the rules of humor, then he ignored them. Karl Dalls profession was spontaneous provocation. It was the media counter around which the 80s thirsty for pilsner gathered.
“Rote Rosen” shoot canceled
He was like a Helmut Kohl of humor: stubborn, unique, bulky. But at the same time the rock that you wanted to lean on even when you couldn’t do much with it. He was always there. And he was true to himself. If he didn’t like the pop singer Roland Kaiser, then he acted like that. Said to have said to him on the show: Sing on, then we’ll be over with. Whereupon the emperor angrily left the studio. He was authentic. A guy.
60 years of show business are no coincidence
Where cabaret artists try with the foil to meet their opponents in the hardly visited nightly back rooms of public regional programs, he just drank stale beer on the guys he thought stupid. But in the spotlight. Someone who was not ashamed because it was clear to him how the business was going, which had provided him with a good and well-earned income for decades. We’re talking about entertainment. Virtually everything that entertains is allowed.
Almost 60 years of show business (he even made TV appearances this year), something like this is never a coincidence. That only works if you want to, can and persevere. He knew how to persevere – had been married since 1971. Active as an actor since the early 60s and never stopped. He couldn’t have done it without his authenticity. And anyway not without distance to your own work and self-irony.
In this respect, the question of whether someone like that goes to heaven despite his cheekiness can be answered quickly: God will turn a blind eye.
The actor Félix Moati puts his intelligence at the service of two committed roles, in Resistance and in the series No Man’s Land.
The main trait of your character? Impatience.
The one you’re least proud of? My obsessive side.
The one you hate in other people? Proud ignorance.
Your anti-stress thing? Beer.
How do you cope with this reconfinement? I’m shooting a Fabien Gorgeart film with Lyes Salem and Mélanie Thierry. We have the chance to work this time, but I also think of all those who struggle.
A word about the series No Man’s Land ? The series skilfully combines family dramas, espionage and geopolitical issues, and highlights the Kurdish fighters, cowardly abandoned by the international community when they are owed the defeat of Daesh.
You also play the brother of the mime Marceau in Resistance ? I did not know anything about Marcel Marceau’s involvement during the war. He developed gestures to convey messages to children without frightening them, and has saved hundreds of lives. Thanks to the film, I was able to meet Jesse Eisenberg, who was partly at the origin of my desire for cinema. Today we are very good friends.
Your currency ? “The mystery is the best invention of those who have nothing to hide”, de Cioran. And also: “Sweep in front of your door first.”
Casting for an ideal dinner at your place? My father (Serge Moati, Editor’s note), my Corsican grandmother, who is very funny, my mother, my girlfriend, Philip Roth, Dostoyevsky and Gérard Depardieu.
What gift do you often give? Praise of love, by Alain Badiou.
Music in your life? Bob Dylan, in particular It Ain’t Me, Babe, a violent and beautiful breaking song, and Oh, Sister, melancholy and strong.
The book that accompanies you? All of Philip Roth, which I keep rereading.
A meeting that marked you? Mrs. Howlett, my professor of letters in hypokhâgne, who opened me to the importance and the pleasure of rigor in reading.
A childhood hero? Harry Potter. When I was 11-12 years old, I was fascinated by his way of not taking advantage of his fame.
A fashion that annoys you? Indignation which does not produce political discourse.
A city that looks like you? La Marsa, our family stronghold in Tunisia, where I spend all my summers.
Your Proust madeleine? The smell of the synthetic turf of the football fields. When I was younger, I wanted to be a footballer.
Resistance, by Jonathan Jakubowicz, November 25, 2020, at 9 p.m., on Canal +, November 26, at 8:50 p.m., on C + Cinéma. And on MyCanal.
No Man’s Land , by Oded Ruskin, Thursday, from November 26 to December 10, at 8:55 p.m., on Arte. And on arte.tv.
Eric Tabuchi and Nelly Monnier: “It’s even more unfair with this second confinement”
During the first confinement, Nelly Monnier and Eric Tabuchi had invented Décor-Export, a brilliant participatory game allowing their cutout silhouettes to travel in the photographs of others. Since then, this initiative has become a book (Ed. Poursuite) and the two artists have traveled in real life to continue their photographic report of the titanic “Atlas of natural regions”, whose website they have just unveiled.
“We had to open a large exhibition of 250 images at the CCCOD in Tours, the first with five regions of the Atlas finalized thanks to our partner CAUE Touraine. The cancellation of this opening may lead to others: we have five exhibitions scheduled for 2021, but we need six months in advance of shots. This creates tension and uncertainty. We have to go to Haute-Savoie in two weeks, we are waiting for authorizations, but we are wondering how to eat and find accommodation. We launched the ARN website on Facebook. This is our first foray into dematerialization, a way not to sink into isolation and loneliness, a way to ward off bad luck … “This second confinement comes at the right time in the end: we have plenty of things to finalize for the site. We try to be positive, even though it seems certain that things are not going to get better any time soon, that it will last for months, even years. And to think that this event will not be represented by the artists! The artist has become a secondary being, pushed to the margins of public utility. Confiscating the artistic representation seems strange to us… And it is even more unfair with this second confinement: people find themselves being burdens, at the bottom of the ladder. This gives the idea that what matters is having a good butcher, a bank account to consume and that art has become Netflix. There is still something positive about this event: we adapt! Someone told us about teletourism… We will undoubtedly become teleartists… ” Collected by Clémentine Mercier
Read also episode 1 of “How’s Culture Going?”
Jérôme Baron: “Offer something else to the public”
Since 2010 at the head of the Nantes festival of Trois Continents – where many great filmmakers from Asia, Africa and Latin America have revealed themselves to France – Jérôme Baron has held the helm of this 42e edition reinvented online, in extremis and for the first time. It starts today, until November 29.
“As for many, things could obviously get better… Failing to have imagined that we would be reconfigured in November, we were careful in the preparatory stages of the festival, since we had imagined up to three possible formats… in physics . We made the decision to work on a version with a public offer, online and free, twenty-four hours after the announcement of Emmanuel Macron. We are very attached, in Nantes, to an open festival, it is a working philosophy to bring down the walls. Our intention was to give the possibility to films which have known a succession of aborted destinies, or which have not yet found theatrical distribution, to be visible. “The most difficult thing is the impossibility of projecting yourself, even in the short term. Keeping a team afloat without knowing the possible resources, getting bogged down in a just-in-time situation … Our public partners have enabled us to work with an economic base that is at least more or less satisfactory, but our great fear is that, if the situation continues, funds will probably run out in 2021, 2022. And we do not exclude that the return to a more normal operating framework is to the detriment of a real density and diversity of the offer… It was very obvious to see the concern of the exploitation this year, without the big American machines to fill the rooms and cash drawers. It raised the question of models to reinvent, to offer something else to the public. What do we do with a tool and a place of cinema, apart from carrying out a purely commercial activity there? ” Collected by Sandra Onana
The Creustels: “Less confined, people share less Internet nonsense”
Their video hijackings of the exorcist or from Manon des sources, Proutophiles and pleasantly morons, were shared like hotcakes on social networks during the first confinement. And today, how’s that for the Creustels, that is to say the authors and actors Marion Creusvaux and Julien Pestel?
“Bin is the balls. Our Instagram account was hacked yesterday, like many. A priori, it’s a virulent virus, so 2020… The Instagram team is trying to recover our data, but we will lose all the comments to our videos anyway, and that’s very sad for us because it was almost a diary of the first confinement. Even today, people came to review and comment on the March videos! Since the reconfinement, we have resumed the diversions, without knowing whether or not everyone was fed up with our foolish jokes … We also noticed it: as people are less confined, they share less nonsense. ‘Internet, but we are happy to see that our first video of the second confinement, the one that hijacks Macron’s speech, has collected 850,000 views. We now have 340,000 subscribers, and a total of about 60 videos. Otherwise, we will put online, on November 25 on Julien Pestel’s YouTube channel, our short film which was initially to circulate in festivals, Behind the door, a true story in which we were the protagonists and which addresses the issue of violence against women. ” Collected by Eve Beauvallet
Jean-Pascal Zadi: “Culture is becoming as important as eating”
Not content with being the author of the most brilliantly unseemly French comedy of the year, which led the way in which cinema attendance resumed in early July, Jean-Pascal Zadi barely left himself the time to ” an adrenaline rush after Simply black (750,000 entries). We wanted to know what the actor-filmmaker can do four months after his summer hit.
“It’s going pretty well for me, I’m in the job, finishing season 2 of Craignos whose name is Downright Craignos and will be broadcast on France TV in February 2021. There, I’m editing, we’re working on the music with the composer, it’s a part of the work that I really appreciate. We had the chance to shoot in July, right between the two confinements, and finished in September. It’s when we have a hard time that we realize that culture is super important, it softens manners … When we are in confinement, it’s not at all secondary, it’s the opposite, that becomes as important as eating. Even those who say that bookstores are not essentials are very happy when they return home to have their books! Being active, for me, is something very healthy for the mind, doing nothing is really a hassle. After Simply black, I immediately got to work, I’m lucky to have made a film that worked a bit… If I had any advice for everyone, it would be to go read How to have sex with a nigger without getting tired by Dany Laferrière. ” Collected by Sandra Onana
“Already tried. Already failed. It doesn’t matter. Try again. Fail again. Fail better. ” These words of Samuel Beckett (Cap for the worst, 1991) come to mind in the face of the sublime catastrophes at work in The Goes Wrong Show. Behind these six hilarious episodes aired on the BBC (available now on Amazon Prime) is the Mischief Theater led by Henry Lewis, Henry Shields and Jonathan Sayer: a British troupe recognized in 2012 for their play The Play That Goes Wrong, where calamitous actors try as best they can to play a detective drama despite the incessant incidents due to the setting which crumbles before their eyes.
After several successful variations of the principle on the boards (including one Peter Pan), in London and Broadway, here is the series, each episode of which can be enjoyed independently. Each time, the fictitious Cornley Polytechnic Drama Society tries out a different genre (melodrama in costumes, espionage, horror, trial …) with the same results: actresses and actors delighting to play deliberately badly (the one cabotine to death , even when he is playing a corpse; another out of tune recalls his partner’s lines), fighting like Sisyphus against badly worn props with devilish precision. How to slam the doors at Feydeau if they do not open? The Goes Wrong Show pushes this principle to the extreme. In “The Cottage”, Henry Lewis is the thunderous actor Robert Groves, who probably dreams of doing Falstaff but ends up as Santa Claus in the episode “The Spirit of Christmas”. In the skin of a villain caricature, the character seeks to make a dramatic stage exit with an ominous laugh. Except that all the exits are blocked. Here he is condemned to stretch out laughing the time (long) to find the exit. Or, better find, in the aptly named “90 degrees”, which sees the troop having to manage to save face, hung like mountaineers on furniture fixed on a wall, reciting the text despite the laws of gravity. Here we have a famous British vein of embarrassing TV comedy (I’m Alan Partridge, The Office), with its frustrated actors struggling to keep the show going. With the extra soul, thrill of the scene (the episodes are recorded in public) and a chaos mechanics precise in every detail, which has nothing to envy to the Peter Sellers demolisher in The Party of Blake Edwards or of keeping Buster Keaton against disaster in his films. We are amazed by the technique, the stunts (here, you have to know how to throw yourself into the void or avoid being beheaded by a fan) and the balance achieved between a very childish enthusiasm and a Brechtian approach. Or how to show a theater that looks like a school performance at the end of the year (with a little more resources) but with a brain reading, aware of the artifices of the boards (we often play here with the “Chekhov rifle”) . Between the two, we laugh heartily in front of the millimeter idiocy, the burlesque energy of this troupe which, in its falls, grimaces and gesticulations, points to a more than familiar anguish on stage and in confined life: how to exist between four walls.
Since 1998, the “Variety” has been compiling a list of ten young actors whose careers are worth paying special attention to. In recent years, with Mahershala Ali, Viola Davis, Octavia Spencer, Brie Larson and Lupita Nyong’o, a few actors and actresses made it onto this list of the trade journal for film and entertainment who later won an Oscar. Now the list for 2020 is out: And on it, 12-year-old Helena Zengel, a Berliner.
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Born in Berlin in 2008, Zengel started acting at the age of five. She got her first leading role in a feature film three years later, when she starred in the drama “The Daughter” by Mascha Schilinski. Since then he has made a few appearances in film and television.
Her greatest success so far has been her participation in the film “Systemsprenger”, on which the “Variety” bases its reasoning. Zengel plays the behavioral nine-year-old Benni in the film by Nora Fingscheidt. After the film premiered at the Berlinale in 2019, Zengel received numerous awards. Including the German Film Prize for the best leading actress.
In addition to her role in “Systemsprenger”, “Variety” justified her inclusion on the “Actors to Watch” list with her upcoming US film debut alongside Tom Hanks in the western “Neues aus der Welt”. Hanks plays a message messenger in 1870 who meets ten-year-old Johanna (Zengel), who was raised by an indigenous people.
Among the ten chosen is also the Bulgarian actress Maria Bakalova (24), who plays Sacha Baron Cohen’s daughter in the “Borat” sequel, the Irish Paul Mescal (24, “Normal People”) and the US Starring Tiffany Boone (33, “Hunters”), Jayme Lawson (19, “Farewell Amor”) and Tom Pelphrey (38, “Ozark”). The group will be presented in a “Variety” issue in mid-December.
Los Angeles (AP) – The twelve-year-old German actress Helena Zengel (“Systemsprenger”) made it onto the annual “Actors to Watch” list of the US trade journal “Variety”.
“Variety” refers to Zengel’s appearance in “Systemsprenger” and to her upcoming US film debut with Tom Hanks in the western “Neues aus der Welt”. Hanks plays a message messenger in 1870 who meets ten-year-old Johanna (Zengel), who was raised by an indigenous people.
Among the ten chosen is also the Bulgarian actress Maria Bakalova (24), who plays Sacha Baron Cohen’s daughter in the “Borat” sequel, the Irish Paul Mescal (24, “Normal People”) and the US Starring Tiffany Boone (33, “Hunters”), Jayme Lawson (19, “Farewell Amor”) and Tom Pelphrey (38, “Ozark”).
The group will be featured in a “Variety” issue in mid-December. The trade journal has been directing attention to promising actors since 1998, who later became popular. These include Brie Larson, Lupita Nyong’o, Octavia Spencer, Mahershala Ali and Timothée Chalamet.
“How’s Roschdy Zem, what’s left of it you mean?” No, for him, it’s going like a privileged person, not representative of the precariousness suffered by the industry, of the many technicians who send me messages and ask themselves the question of how to live from day to day, how everything will end. … I am more worried about others than I am, who will get through it, one way or another. This situation, which we believed to be temporary, complicates our economic, professional, but also spiritual existence. How will she evolve in this world? It is this reality that scares me. You have seen me intervene to question how to deal with platforms today, which are our masters of tomorrow – make no mistake, the Gafa are the greatest powers in the world. We try to think that we will be able to force them to do our own thing, to keep our French and European freedom to create. If we manage not too badly, this decree which takes shape year after year will be good news.
“The question I ask myself is who can benefit from this new windfall, will it always be the same? Are we going to open it up to a youth who is never represented in the stories, who has things to tell? There are the historical partners, ok, but have they been able to create bridges between culture and those who do not have access to it to express themselves? I’m not quite sure. In the meantime, the cinema, ok we are authorized to shoot, but everything else is on stand-by… I hope to find the sets at the beginning of 2021. We make films to be seen in theaters, not to sell the films directly to the platforms. I was playing at the theater [Trahisons, mis en scène par Michel Fau, ndlr], it’s over, definitely, we had just started. We will only have played for a month. We were full every night… That’s how it is. ” Collected by Sandra Onana