Word: audran
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Dates: during 1970-1979
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There she was, sounding like a sightseeing bus driver. Actress-Singer Ann-Margret, 34, had come to Paris for a part in Director Claude Chabrol's new movie Crazy Bourgeoisie, a pillow comedy co-starring Bruce Dern and Stephane Audran. Between scenes for her cameo role as a philandering translator, the actress did some Paris sightseeing. "Wherever you go there are always these fabulous restaurants or monuments or boutiques," she commented, displaying her celebrated eye for detail. Ann-Margret added that she had picked up at least one extravagant souvenir during her travels-a mink coat for Husband-Manager...
...modishly tailored shoulders. On the way to his dead mistress's funeral, he silently mouths a confession in the back seat of a car. A police inspector confides to him that the murder may never be solved. With mounting distress, Charles tells his wife (Stçphane Audran) about his affair and the killing. She considers these revelations and is understanding. He tells his friend François, who is forgiving too. "No one," François explains, "is guilty of what happens in a nightmare." After all this, Charles can turn only to the police. It would...
Chabrol is close to his best in La Rupture, a story so maniacally convoluted as to defy description, but totally absorbing. Basically it is about a strong, simple, good young housewife (Stephane Audran) whose husband has for no good reason turned to drugs and violence. After one of his rages puts their son in the hospital, she is determined to divorce him. But his very rich, authoritatively lunatic father is equally determined that she will not obtain custody of the child. The old man hires a shifty young man (Jean-Pierre Cassel) either to discover or to invent evidence...
Wedding in Blood, a fine Chabrol film about crimes of passion with brilliant performances from Michel Piccoli and Stephane Audran, is moving to Central Sq. along with Bergman's The Touch. Lucia is staying at the Welles, but not for too much longer, so catch it while...
This brings us back to that old puzzler, the "very difficult" problem of ethics. In the end that is what Wedding in Blood is all about. Audran and Piccolo are not just common lovers, they are the bourgeois world's version of Everywoman and Everyman. They are the passionate living in a passionless world. They want to be alive, to be rewarded, to be fulfilled--they want to be everything the great mass of desperates are not. Very difficult indeed. Certainly a problem that you can't run away from...