Comedian Anticormist with a dotted career, he had turned for Jean-Luc Godard, Gérard Blain, Claire Denis. He died on January 17 at the age of 86.
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“The actors, I find it con. I despise them. It’s true: you tell them laugh, they laugh. You tell them to cry, they cry. You tell them to walk on all fours, they Font. Me, I find it grotesque. “These provocative words are those pronounced in 1960 Michel Subor in the little soldier, Jean-Luc Godard, who made his fame.
Without knowing it, they would remain as a currency for this anticformist actor, whose career full of air holes composes the most beautiful ghost filmography of French cinema. Not an interpreter in the technical sense of the term, but a black star, a basalistic block of presence, a cooled lava bark but always burning inside. The insistence of his “gray” look or his fascinating gesture was enough to generate the trouble, worry, mystery. Michel Subor was 86 years old when he died on January 17, a suites of a car accident.
Dryness and Detachment
His life can not be reconstituted by dashed, as the interested party has taken care to throw on her a veil of secrecy and opacity. He is born Mischa SuboTzki on February 2, 1935 in Paris, of immigrant parents – Father Moscovite Engineer and Azerbaijani Mother – who had fled the USSR a few years ago. His first steps in the cinema, from 1955, are done as a listed. In September 1959, at the Renaissance Theater, it replaces at the foot raised Serge Reggiani in the sequestered of Altona, Jean-Paul Sartre, directed by François Darbon.
It was then that the young Godard remarks and makes him pass from the tests for his second feature film, the little soldier. He plays Bruno Forestier, a young deserter fallen into the hands of the OAS and forced to commit an assassination. Recounted in voice, the film prints the cold and sharp timbre of Subor, which then invents, even in its gestures, a completed form of drought and detachment. Mention, in full war of Algeria, the use of torture, the film, censored, will only come out in 1963.
The 1960s are the growth for the actor, which gives the replica to Brigitte Bardot in the flange on the neck (1961), a sexy comedy of Roger Vadim, his voice at the narrator of Jules and Jim ( 1961), François Truffaut, and lands even in international productions like the Etau (1969), Alfred Hitchcock, or what’s new, Pussycat? (1965), Clive give. In 1962, he embarks on the sides of Paul Gégauff, screenwriter of the new wave and dandy sulphureux, to turn in French Polynesia the only one and only film of it, the reflux, according to Stevenson. This mad adventure – the Jacques Poitrenaud assistant puts the movie in a box instead of a director preferring teasing the fishing rod – will not succeed in an exit into theaters, the rights of the novel not being paid.
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