The French actress Emmanuelle Riva, 89 years, died on Friday afternoon, according to the news, this Saturday the French press. The Le Monde, which called him “a great and magnificent queen of the screen, and the stages of the French”, said the actress had a cancer four years ago, but that only his friends knew that he was sick because he wanted to work until the end. Later this Summer, adds the French newspaper, ran a movie in Iceland and did a show at the Villa Médicis in Rome.
his best-known films are those that mark the beginning and the end of his career, Hiroshima mon amour (1959), the first feature film by Alain Resnais, and Love (2012), Michael Haneke’s funny games, which earned him finally a César for Best Actress and a nomination for the Oscars
The living do not realize anything of the dead
Love which earned a series of awards and nominations to the director and the two protagonists, who play an older couple faced with the terminal illness of the woman after a stroke. Emmanuelle Riva is speaking with Jean-Louis Trintignant and Michael Haneke films a man and a woman after the age of 80, in its intimacy, a reality normally strange to the cinema in the face of mortality. Was at the age of 85 years, as you wrote the Libération, the actress has found, due to Michael Haneke’s funny games, a role to measure, 50 years after Resnais: “it is Not every day that we are hit by the beauty of a woman of 85 years old.”
For Hiroshima mon amour, which has the argument of the writer Marguerite Duras, Alain Resnais found this face serious and melancholic on a poster, who had come to Paris, the coming of the Vosges, to study theatre at the age of 26 years. The film is part of a trilogy, along with Night and Fog and Muriel, that signals the onset of the Nouvelle Vague, and a new way of doing cinema, or, as he writes in the Le Monde, “the emergence of modernity in the history of world cinema”.
On the role of Anne in Love director Michael Haneke recalled in an interview to the PUBLIC the difficulty of representing after the age of 80, he made the film to Jean-Louis Trintignant: “We were all very impressed with Emmanuelle Riva, since it is also a role dangerous. Represent someone with a disability is rewarding when it is done well, but hides also the danger of massive not result. This was the case with the role of Anne. On the one hand, the paralysis had to be credible, but on the other was also very important to convey the idea that this was a woman with class and authority, which he had trained pianists. It is necessary to have in account that Emmanuelle Riva has 84 years, and who gave with a will of iron, and with a great sense of responsibility.”
Love, writes the Le Monde, “a terrible movie, a lucidity atrocious and a humanity, the terrifying”, will meet a critical success and audience unexpected that begins with the Golden Palm of the Cannes film Festival.
But among the films of Resnais and Haneke Emmanuelle Riva has had a long career and varied, where there were works and interpretations remarkable. It is curious to note that, having “been born” in a pivotal film of the Nouvelle Vague (Resnais), the rest of his career not spent much there, and was even in one of the movies that this Nouvelle Vague anatemizou by a famous text of Jacques jacques rivette, the Kapo of Gillo Pontecorvo, in 1960. But also in this year was one of the friends of Adua in Adua and her Friends, the brilliant and so overlooked Italian director Antonio Pietrangeli, contracenando with Simone Signoret, Sandra Milo.
at This early time, the beginning of years 60, it should be noted also their participation in a film by Marcel Hanoun (Le Huitiéme Jour), and especially in Forbidden Love (Léon Morin, Prêtre), the controversial film of Jean-Pierre Melville who set it to embody the character of a widow in love with a priest (Jean-Paul Belmondo) in the historical context of the Occupation during world War II. This period was also the protagonist of Therese Desqueyroux, by Georges Franju, in the skin of a woman, fed up of their marriage, the poison slowly the husband.Would Franju later in that decade (in Thomas L Imposteur) in that if you divided too much between the French cinema and Italian, and that description corresponded to the period of their greatest activity.
it Is curious to note that, having “been born” in a pivotal film of the Nouvelle Vague (Resnais), the rest of his career has not gone very out there
The 70 “quenched-in” a little bit, with a few movies memorable, although it should be referred to their constant availability for projects of unusual characteristics, such as the famous movie of the Outskirts, <> > > > > I Will go like a Crazy Horse in 1974.
In the 80′s there is a tick in a paper fabulous in a film genius, the Liberté, la Nuit of Philippe Garrel, that thematically it has something to do with the film of Haneke’s that almost thirty years later would give a new breath to his career: also there was a question of intimacy, the intimacy of a marriage is long and bumpy. But it should be noted the ease with which Riva, as in his entire career, was of the most modern to the most traditional: and if shot with Garrel, in the 80′s was also one of the films the end of Jean Delannoy (La Passion de Bernadette), which for the generation of the Nouvelle Vague out pretty much the epitome of the hated “French quality”.
Between the years 90 and 2000, there has been referring to his participation in the Trilogy of the Colors of Kieslowski and, immediately before the Love, his role in The Saving of Skylab, Julie Delpy, that was the other actress symbol of the Nouvelle Vague, Bernadette Lafont, in a choice of cast full of meanings. Then came the film of Haneke’s that renewed popularity, and had the power to do to finish on a high with a career so full of great moments as periods of eclipse.
Updated at 17h with the rest of the career of actress in the cinema
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