Word: yves
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...leap without a net. "A diploma can't get you work in the theater," she decided. "But a part can." It did. She took parts with a repertory company and caromed around Europe. In Paris, Director Alain Resnais was looking for a young girl to co-star as Yves Montand's adolescent amour in La Guerre Est Finie. Geneviève transferred from the Parisian television screen to the film scene without missing a cue. She appeared opposite Alan Bates and Jean-Paul Belmondo, once as a madwoman, then as a spoiled heiress. The parts pinched...
Couturiers were the first to be charmed. Yves Saint Laurent showed a staggering array of snakeskins in his most recent collection, which featured a line of python-printed chiffon dresses (Mme. Pompidou took hers to Chicago last month and wore it with a gold ser pent belt). Givenchy's snaky stretch-wool suit is already being copied, scale for scale, and London Designer Jean Muir has a whole group of satin separates, all slithery with the python pattern. America's Adele Simpson and Bill Blass have embossed the markings onto vel vet and chiffon; Halston has gone...
JORGE SEMPRUN wrote the screenplay, based upon the novel. Z by the Greek-born French writer Vasily Vasilikos, Semprun wrote the screenplay for Alain Resnais La Guerre est Finie, which also stars Yves Montand, who plays Lambrakis in Z. In both films. Semprun makes use of flashback technique. In Z, it shows Lambrakis the man. Throughout the film, Semprun maintains both the man and the mythical martyr through Irene Pappas, who plays his wife and widow. One of Lambrakis aides comes to her after the officials responsible for his death have been indicted and says...
...Yves Montand is perfect as Z's charismatic hero. Coutard's camera heightens his magnetism. Irene Pappas is, of course, magnificent as Lambrakis' widow. Her facial expressions speak for her suffering. Jean-Louis Tritignant ( A Man and a Woman, Ma Nuit Chez Maud ) plays the judge whose investigation, along with that of a crusading young journalist, exposes the fascists...
...attempts to provide depth in characterization are the weakest parts of the film: a few quick flashback shots for Yves Montand, as useless as John Schlesinger's attempt to create a past for Jon Voight in Midnight Cowboy; Costa-Gravas's seeming attempt to link one character's villainry with homosexuality...