Showing posts with label Charlotte Rampling. Show all posts
Showing posts with label Charlotte Rampling. Show all posts

Friday, November 27, 2020

Charlotte Rampling’s Unknowable Truth

Credit...
Photograph by Paolo Roversi. Styled by Jonathan Kaye


Charlotte Rampling’s Unknowable Truth

For more than 50 years, the actress has seduced men and women alike with her cool, distant beauty. But what if all that time we were wrong?

Charlotte Rampling’s reputation doesn’t entirely make sense. She is an actress of extraordinary intelligence and sensitivity, with a rare, charismatic beauty and sexual force that has lasted well into her 60s. Her career began at 17, when she was spotted in a secretarial pool by an ad man who worked upstairs; she went with enchanted speed from a bit actor in a Cadbury commercial to full-on celebrity in 1966 with the modish hit ‘‘Georgy Girl.’’ Over the last half-century, she has made more than a hundred films and TV shows, a career now crowned by Andrew Haigh’s ‘‘45 Years,’’ an emotional tour de force reminiscent of James Joyce’s ‘‘The Dead’’ (the story, not the Huston film) in its quiet, quotidian pace and evocation of the past’s devastating romantic power. Rampling has been rightly celebrated for her remarkable body of work, but she’s also been labeled as ‘‘cold,’’ ‘‘imperious,’’ ‘‘detached,’’ ‘‘watchful,’’ ‘‘hard to get close to,’’ ‘‘mysterious’’ and ‘‘aloof.’’ In the countless interviews she’s done, reporters have described her with a mixture of awe and anxiety, sometimes casting her as a bit of a mental case as they unknowingly behave like mental cases themselves.

The Night Porter / Nazi porn or daring arthouse eroticism?




The Night Porter: Nazi porn or daring arthouse eroticism?

There were bids to ban this film about a sexual liaison between an SS officer and a teenage concentration camp prisoner. As it returns four decades on, does director Liliana Cavani still feel their relationship was ‘beautiful’?

 
Ryan Gilbey
Thu 26 November 2020


M

ovie romances traditionally have what’s called a “meet cute”, that clinching moment when a couple-to-be first bump into one another. It would be hard, though, to think of a meet less cute than the one in The Night Porter, Liliana Cavani’s erotic drama from 1974. When Max (Dirk Bogarde) encounters Lucia (Charlotte Rampling), they are in a concentration camp: he is an SS commandant and she is his teenage prisoner, crop-haired, ghostly and gaunt. A twisted relationship develops. She gives him sex and he brings her gifts, such as the head of a fellow prisoner in a box. It’s the little things that mean so much.





Twelve years after the end of the war, they are reunited when she checks into the Vienna hotel where he is manning the front desk. Soon it’s like the good old days all over again: they play sadomasochistic sex games, and Max tries to prevent Lucia being killed by his Nazi chums.

Charlotte Rampling / ‘Depression makes you dead to the world – you've got to build yourself up again’

Charlotte Rampling: ‘My career has been sort of marginal ...’ 


Charlotte Rampling: ‘Depression makes you dead to the world – you've got to build yourself up again’


The actor on her new film, Hannah, 2016’s ‘racism’ row, her silence on #MeToo and learning to care for herself

Rebecca Nicholson
Friday 1 March 2019

Charlotte Rampling is sorry for being late. She arrived at Gare du Nord in time to catch her train from Paris to London, but when she got there, she realised she had left her passport at home. She has just moved, she explains, to a new place in Paris, the city in which she has lived for decades, and nothing is where she expects it to be.

“When you move, it’s quite disorienting. You don’t quite know where you are.” Not that she is in any way ruffled by the train fiasco. It is hard to imagine her being ruffled by anything. She needs a minute to put her bags down, she says, as she checks in at the hotel, then I should come up to her room and we can talk. She puts on her sunglasses and disappears into the lift.

Hannah review / Quietly haunting portrait of an upturned life

 

Charlotte Rampling


Hannah review – quietly haunting portrait of an upturned life

In this often wordless drama, Charlotte Rampling brings an intelligent intensity to the role of a woman whose ageing husband has been jailed


Peter Bradshaw

Thu 7 February 2019


E

xperiencing the formal, compositional chill of this film is like opening the door of a freezer cabinet and putting your head inside. The Italian film-maker Andrea Pallaoro directs and co-writes, and the star is Charlotte Rampling, whose performance won her the Volpi cup for best actress at the Venice film festival two years ago. It is the portrait of a lonely, unhappy life and the action is almost wordless, in a series of scenes often recorded by fixed camera positions that (for a while) withhold from the audience the full truth of what is happening. It is perhaps inspired by Chantal Akerman’s 1975 film Jeanne Dielman, 23 Quai Au Commerce, 1080 Bruxelles.

Saturday, June 10, 2017

Charlotte Rampling / ‘I cannot explain it but I have never visited the cemetery where my sister is buried’


Charlotte Rampling


Charlotte Rampling: ‘I cannot explain it but I have never visited the cemetery where my sister is buried’


The actress talks about coping with the death of her sister, how her father tried to sell his Olympic gold medal and why she is so resilient

Interview by Angela Wintle
Friday 9 June 2017 13.00 BST

As a child, I had trouble understanding the world of adults. I could never really approach my parents. I think I made them unapproachable. I was always stepping back and watching. My mother, Anne, a painter and heiress to the Gurteen clothing company, was like a heroine from a romantic novel. She spent her carefree youth at the glittering heart of the 1920s social whirl and had many admirers. She was entrancing and let life carry her along.

My father, Godfrey, was a saturnine, distant and troubled young man, a legacy of his lonely childhood. His father had been killed in battle, leaving a widow with three children. His mother, finding herself penniless, quickly remarried. Her new husband didn’t want to take on three children, so my father, aged seven, was sent to live with his severe maternal grandmother who sent him to boarding school. It was a radical, devastating separation.

Charlotte Rampling

 My mother was 12 when she first met my 20-year-old father, a friend of her brother’s, and she realised he would be the love of her life. He was an athlete and went on to win gold in the 4x400m relay at the 1936 Berlin Olympics. After the war, finding himself broke, he tried to sell his medal but discovered it was made of steel. Hitler had palmed them off with fakes.

My father had wanted to join the RAF, but flunked a breathing test so he joined the Royal Artillery where he rose to become a colonel. His postings between England, Wales and France meant we moved seven times in 13 years and I knew that each new friend I made would soon be lost. Living like that, my older sister Sarah became my one great friend. She was like a beautiful doll with pale, porcelain skin, big eyes and blond hair. She had an operation when she was five – something to do with her glands – but remained fragile. Mum wanted to be at her side every minute, which I resented.


When she was 21, Sarah went on her first big trip abroad to America where she met a handsome, rich, older Argentinian cattle rancher, Carlos. She feared this man to whom she was very attracted would leave her, so within a week she married him without telling anyone. It was terribly hard for my mother, who couldn’t bear the thought of Sarah being so far away in Argentina. I realised this was another lesson in resilience and from now on I’d have to do things on my own.


Sarah would visit from time to time, but I sensed the separation from everything she had known weighed heavily on her. Three years after her marriage, my parents received a phone call informing them that Sarah had died in Argentina. At the time, my father said she had had a brain haemorrhage, but he later confided that she had shot herself after giving birth to a premature son, Carlos Jr. He said this had to be our secret because it would kill my mother to know the truth. I’ve always wondered if she was protected by our pact or poisoned by our lie.


With Sarah’s loss, everything went out of my mother’s life and she suffered a stroke. It could have fallen to me to comfort her, but my father said: “Live your life. You’re young. I’ll look after your mother.” I realised that if I was to get on with my life and career, I needed to contain my grief. It was only decades later that the full impact hit me. For some reason I cannot explain I have never visited the cemetery where Sarah is buried.


I’ve been married and divorced twice – to the producer Bryan Southcombe and the composer Jean-Michel Jarre. I had a son with each – Barnaby, born in 1972, and David, in 1977. After I became a mother, work came second, but it was no sacrifice. In 2015, I lost my partner of 20 years, Jean-Noël Tassez, a French business consultant, to cancer. More lessons in inner resilience.

 Who I Am by Charlotte Rampling with Christophe Bataille is published by Icon Books, £12.99. 




Friday, January 22, 2016

Oscars 2016 / Charlotte Rampling says diversity row is 'racist to white people'


Charlotte Rampling
Photo by Bettina Rheims


Oscars 2016: Charlotte Rampling says diversity row is 'racist to white people'

The British actor, who is nominated for the best actress award, says black actors may not have been good enough to make the list of Oscar nominees





Ben Child
Friday 22 January 2016 12.19 GMT

Oscar nominee Charlotte Rampling has claimed the current campaign to boycott the 2016 Academy Awards over claims of a diversity deficit is racist to white people.
Rampling, 69, is up for the best actress prize for her role in the British drama 45 Years, from director Andrew Haigh, where she will compete against Room’s Brie Larson, Carol’s Cate Blanchett, Joy’s Jennifer Lawrence and Brooklyn’s Saoirse Ronan. Asked for her take on the current furore over all-white lists of nomineeson French Radio network Europe 1 on Friday morning, the British actor did not mince her words. “It is racist to whites,” she said.

Tuesday, January 19, 2016

The 50 best films of 2015 / 45 years / No. 2


The 50 besfilm

of 2015 

in thUS  

No 2 

45 Years

Peter Bradshaw
Thursday 17 December 2015


One of the enormous and incidental pleasures of Andrew Haigh’s superlative drama 45 Years is the way it presents us with two superb actors absorbed in the kind of roles and script that don’t come along too often. Older actors usually get to play supporting parts which are sketchily or condescendingly conceived, in movies which are of varying quality, to say the least. This movie was different. It put Charlotte Rampling and Tom Courtenay centre stage and gave them the career-opportunity of a lifetime. They took it.

Charlotte Rampling
45 Years


Rampling got the chance to play a role that had nothing to with menacing or decadent sensuality; Courtenay played someone who wasn’t diffident or wet. They are both quietly electrifying. They are Kate and Geoff Mercer, a retired childless couple living in the charming if somewhat featureless Norfolk landscape, in a village just outside Norwich. Kate is a former headteacher with a natural calm air of authority which still commands respect thereabouts and Geoff used to be manager at a local engineering company: he is seems of a lower social class and lacks her effortless poise and self-control.


Tom Courtnenay and Charlotte Rampling
45 Years


In fact, he can still get a bit lairy with a drink inside him. This very mismatch has something romantic about it, especially as they are preparing to celebrate their 45th wedding anniversary. Yet that faintly arbitrary number — 45 — is due to the fact that an earlier party had been cancelled, and something appears to be subtly wrong. The uneasy calm of their relationship is destroyed when Geoff gets a letter out of the blue saying that the body of his old girlfriend, who was killed in a walking holiday in Switzerland, has now been discovered in the ice and snow, perfectly preserved. The past comes rushing back to overwhelm the present.
Tom Courtenay and Charlotte Rampling
45 Years

Piece by piece, brick by brick, the edifice of their relationship begins to collapse — and so do their lives and their sense of themselves. The film terrifyingly shows how as time goes by, we can build our identities on a lie, or at least on a delusion, and these identities become teeteringly unsafe towers liable to collapse if they are suddenly examined or challenged too closely. Perhaps there is something dangerous in the very act of an anniversary party itself:  the sudden, unwonted focus on the marriage — why did we get married, anyway? — and the appearance of dozens of old friends and faces with disturbing associations with the past. 



At the end, Kate appears to be in torment, but Haigh’s final, disquieting shot suggests that, in Shakespeare’s phrase, there’s no art to find the mind’s construction in the face. Look around you — at Kate and Geoff’s anniversary party, or in the office, or at home, or in the street. Everyone looks happy, or calm at any rate. But perhaps every single one of these faces is concealing a terrible, painful secret, like Kate and Geoff. 45 Years is a fiercely disturbing film.

THE GUARDIAN





The best 50 films of 2015 in the US
01. Son of Saul