Francoise Arnoul , of her true name Francoise Gautsch , is a French actress born the June 3rd 1931 with Constantine (Algérie). It was the partner of the French realizer Bernard Paul (1930 - 1980).

Biography

A mother actress

Francoise has two brothers and their father is a soldier, the general Charles Gautsch, from which it will borrow later one of her first names to make her pseudonym of artiste.
She, to some extent, will carry out the dream of actress of her mother. Indeed, this one, after having followed, in its youth, the courses of dramatic art of the academy of Lyon, began on the scene from the Theater from Célestins where she even played, under the name of Jeanine Henry, with Charles Vanel. She gives up her career to marry the young person Polytechnicien Charles Gautsch and the strict ambitions of her in-laws.

To think of art

She will say one day to her little girl: “You must think of art, the only really beautiful thing. If you do not like the piano as much as me, make dance. ” Francoise is thus registered with the courses of dance to Rabat, with the Morocco, where his/her father is then posts some at the beginning of the Second War mondiale.
It makes, around 7 years, its beginnings on the boards in “butterfly” of the Carnaval of Robert Schumann in a ballet given to the profit of the Croix-Rouge. The spectacle will be presented in the marocaines.
The young girl enters then to the college of Casablanca where the family moved. Francoise puts now the tutu for her courses of dance. It is as as from this time as she discovers the cinema, her magazines and her stars who have as names Shirley Temple, Errol Flynn or Gary Cooper.

Return in France

At the end of the war, in 1945, mother, grandmother and children return to France while the father remains in Morocco, retained by its professional obligations. After a passage by Bagnères-with-Bigorre, the family settles in the 16th district of Paris.
Francoise enters to the college Molière and shares its passion incipient for the French essay with his/her two new girlfriends. One is Yvonne Roussel, the sister of Michele Morgan and the other Danièle Heymann, future journalist and girl of the realizer Claude Heymann. The three friends, between the college and the readings of “Cinémonde” , find time to organize small representations between them, the taste of the declamation having been inculcated them by their French professor.

Empire of Morgan

One day, Yvonne Roussel obtains two places to attend the Théâtre of the Empire and in the cabin of his/her sister Michele Morgan, with the projection of last film of this one, the pastoral Symphony of Jean Delannoy (1946). First contact of Francoise with a star.
If it is interested in the cinema, the cinema is also interested in it because, in front of this same room of the Empire, it is approached, later, by the realizer Marc Allégret who seeks two young girls for his next film, the Bay-trees are cut . It is received by the young assistant of Allégret, Roger Vadim which announces to him that the other young girl, some Brigitte Bardot, is already committed. This film will not be done but the destiny takes care.

Artistic training

Having little taste for the studies, Francoise leaves her class of second and lance to her mother: “I want to make cinema. ” . His/her mother registers it with the dramatic courses exempted in the 9th district by one of her knowledge, Mrs Bauer-Thérond. His/her comrades are called Michel Drach, Roger Carel and Roger Hanin. During a hearing to the Theater of the Iron boiler, it signs a contract with the artistic agency Besnard and it joined the team of its foalta, among which Magali Christmas and Renee Cosima.

First go with the cinema

Had a presentiment of by Robert Dhéry which auditions for the theatrical comedy which it is going up with Bourvil in the high-speed motorboat, Ebullient Achilles of Paul Nivoix (1948), the role is finally entrusted to another beginner, Nicole Courcel. Francoise makes a first figuration in 1948 in Rendez-vous of July of Jacques Becker where it is always preceded by Nicole Courcel who holds the main role to with it, but its turn soon will arrive.

Francoise, forbidden fruit

She goes over her 18 years and she is committed, after conclusive tests, by Willy Rozier which entrusts its first and great role in to him the Wreck (1949). She is “Perrucha”, a hot stuff who, with some stripped scenes, lance the character of Francoise Arnoul.
If, in reality, at the dawn of the Years 1950, education made that the majority of the 18 year old young people were, like it, very naive, it will incarnate, with the screen, of the characters borderline, the often perverse roles. It is in the air of time, perhaps the resultant of a too rigid education which will make that the public from there will live with the cinema its phantasms by procuration. Cecile Aubry, right front, had just created, successfully, its character of ingenuous perverse in Manon , the film of Clouzot (1949).
In the case of Francoise Arnoul, even if it has light roles sometimes, primesautier as in We will go to Paris (1950) or from shopgirl as in French-cancan (1954), the cinema dedicates it to play of the turbid and destroying characters. One can quote some films with the evocative names: Forbidden fruit (1952), the Rage with the body (1953), and especially the series of films of Henri Decoin, the She-cat (1958 - 1960), where its cat-like little face of spy lost waxed black will throw into a panic the populations. More than Brigitte Bardot to which one sometimes wanted to oppose it, it incarnates often enigmatic characters who sourdent of a pleasure much more pernicious and dangerous. Itself will say to Vadim on the plate of never Knows one… (1957): “If you seek Brigitte through me, you will not find it. It is not me, I am not it! besides” It will on the occasion to prove, with this film and that of Pierre Kast, the Dead season of the loves (1960), the extent of its possibilities to marry intellectualization of the feelings with passion charnelle.

Alive season of the loves

Francoise Arnoul knew the event-driven organizer Georges Cravenne in 1954 on the turning of French-cancan . They married a few years after then separated in 1960. She met the scenario writer Bernard Paul in 1964 on the turning of Compartiment killers of Costa-Gavras and was her partner until the death of this one in 1980. For him, it put its career in sleep in order to assist it in the turning of its first films. Together and with Marina Vlady, they created, in 1968, the production company “Francina” which in particular allowed them to finance the three feature-length films of Bernard.

Sundays of the life

Maturity offered the occasion to him to diversify its employment with the cinema and on television. From this period, one will retain, with the cinema, Lucky OJ of Michel Deville (1964), Sunday of the life of Jean Hermann (1965) and Night round of Jean-Claude Missiaen (1984). On television, it will have finally tenderizing employment mothers as in the Automat of Jean-François Claire (1981) and it will create remarkable compositions like that, for example, of this avenger old woman of the Strange story of Emilie Albert of Claude Boissol (1988).

Cinematography

Television

Videotex

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