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Charlotte Rampling self-identifies as a “prickly” person. “Like a hedgehog or porcupine, you don’t necessarily get too close,” she told IndieWire. "I'm fatalistic about my career. That's how I can live out her [in France] and not be the center of things. I believe the projects that eventually work out were meant to be." --Rampling to Women's Wear Daily, March 9, 1988. "I think I looked for tortured subjects to correspond with how I was really feeling. It's interesting, isn't it? I know I have a comedy gift. John Cleese and Woody Allen have both told me that, but instead I play all these tragic ladies." --Charlotte Rampling in The Observer, September 25, 1994. After developing a flying web-cam Alain has his boss and wife over for dinner.
Charlotte Rampling, Blonde, Don't Worry Darling, Catherine Called Birdy and Juniper
Obviously now I won’t be playing Lady Jessica, though. [Laughs.] But here we are, all these years later, putting a spin on this kind of film that hadn’t been done—they are very big films, but they have a real beauty and vision and an intimate touch. An alluring presence in features and on television since the 1960s, actress Charlotte Rampling defined sexual freedom and fearlessness over the ensuing decades in such films as "Georgy Girl" (1966), "The Damned" (1969), "Vanishing Point" (1971) and "The Night Porter" (1974). Though her immediate appeal was her physicality, Rampling became a cinematic icon in the 1970s, thanks to a screen presence that was at the same time confident, passionate and reserved. After star turns in "The Verdict" (1982) and "Angel Heart" (1987), her star waned in the late 1980s due to personal turmoil, though she rebounded in the late 1990s as Aunt Maude in "Wings of a Dove" (1997). Rampling went on to impress audiences with performances as Miss Havisham in "Great Expectations" (BBC, 1999), as well as critical darlings "Under the Sand" (2000) and "Swimming Pool" (2003).
Movie Clip
Her most infamous role, in Liliana Cavani’s The Night Porter, about the sadomasochistic relationship between an SS officer and a concentration camp survivor, was received with dismay by many critics, and banned in some countries. Was she trying to be provocative, or seeking out dangerous parts? “It’s always provocation, or daring, or wanting to ignite things, or wanting to make things live. Hannah’s director, Andrea Pallaoro, had always imagined Rampling in the part, and no wonder.
Watch Doja Cat’s Commanding Performance of ‘Acknowledge Me’ on ‘Fallon’
Jim Jarmusch wraps filming in Dublin with Cate Blanchett The Irish Film & Television Network - The Irish Film Television Network
Jim Jarmusch wraps filming in Dublin with Cate Blanchett The Irish Film & Television Network.
Posted: Wed, 31 Jan 2024 08:00:00 GMT [source]
The character of the hard-bitten been-there-seen-that war reporter is a bit of a movie cliche. But Rampling is wonderful, adding layers to rude, arrogant Ruth, showing her affinity with those who are suffering. Ferrier is very good, too, as Sam, all unprocessed grief and defiance.
Awards and nominations
Her film roles include Georgy Girl (1966), The Damned (1969), Henry VIII and His Six Wives (1972), The Night Porter (1974), Farewell, My Lovely (1975), Stardust Memories (1980), The Verdict (1982), Angel Heart (1987), DOAThe Duchess (2008), 45 Years (2015), and Hannah (2017). She has also made television appearances, which include Dexter, Restless, Broadchurch and London Spy. It is rare to find a mention of Rampling that does not refer to her credentials as a muse. She has been a muse to François Ozon, who revived her film career in the late 90s, to designer Yves St Laurent and photographers Helmut Newton and Juergen Teller (posing nude for the latter in front of the Mona Lisa), and now to Andrea Pallaoro, too.
Not because she wasn’t enamored with the story—an intimate study of the complex relationship between a wayward teenage boy and his dying alcoholic grandmother—but because the film would require her to travel to New Zealand. “I know New Zealand well because the father of my son is from there,” says Rampling. ” After a single meeting in Paris with actor, writer, and director Matthew J. Saville (who makes his feature directorial debut with Juniper), however, Rampling was convinced.
She married Southcombe and they had a son, Barnaby – now a film-maker, who directed Rampling in the movie I, Anna in 2012. It was such a contrast to how she felt in real life. Things were incredibly difficult, but there, I felt just great.” She didn’t go on to study drama, or perform in school plays.
That said, Rampling's most intense role was, arguably, that of a concentration camp survivor who is reunited with the Nazi guard (Dirk Bogarde) who tortured her throughout her captivity in 1974's The Night Porter. Charlotte Rampling grew up in England in the 1940s and 1950s, spending ample time across Europe. In her late teens, she began a career as a model, which quickly led to her being noticed and appearing many movies and TV shows. She first appeared an extra in The Beatles movie "A Hard Day's Night" (1964) and her official credited debut was a year later in the British comedy "Rotten to the Core" (1965). A few years into her acting career, she became a favorite of the '70s European indie film scene, with notable controversial roles in "The Damned" (1969), "The Night Porter" (1974), and "Max, Mon Amour" (1986).
early 1980s: mature roles, Hollywood, and Italian cinema
I mean, the press is good, but audiences love it. I get so many messages from people really loving the film, and that’s so heartwarming because it’s rare you get that and it’s even rarer you get the chance to hear that. As you yourself said, it’s a lovely film, and I think someone calling it a lovely film is a really nice compliment for all of us—that we’ve made a story that people related to and had a good time watching. At the end of it all, it really is as simple as that.
She simply waited another year for an opportunity to ping in front of the good people of Stanmore. It’s like somebody who’s just about to bud — or not — or blossom, or not. He’d been working on short films, trying to work his way into the industry as you do when you want to be a director. So you’ve got somebody who’s really raw and has potential who hasn’t been able to show it. The reason I wanted him — he suggested to come over, and the reason I wanted to work with him was just to see who he was, how flexible he’s gonna be, how we’re going to get into this character together. Some of the way she behaved to me [in the original script] was really a sort of cranky old lady, and I said, this is not so interesting.
“I think he wanted, more than anything, a presence,” she says. “He thought I was the only actress of my generation that could really hold this character.” There is barely any dialogue, and it goes through the monotony of Hannah’s days in painstaking detail. Everything hangs on Rampling’s face, her familiar heavy eyelids and downturned mouth, showing horrors but not speaking them.
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