Charlotte Rampling

[outdoorminer]

charlotterampling.net

 

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charlotterampling.net

 

[outdoorminer]

charlotterampling.net

 

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charlotterampling.net

 

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charlotterampling.net

 

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charlotterampling.net

 

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charlotterampling.net

 

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charlotterampling.net

 

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charlotterampling.net

 

[60swildchild]

Wow! She acted with the greatest, didn't she? Which movie did she do with Woody Allen?

ebay

 

[outdoorminer]

^Stardust Memories

beautiful picture, thanks

 

[60swildchild]

Thanks for the prompt reply. I'll have to check it out as I adore Woody Allen. You know the above-photo from ebay was from a 1967 US Vogue magazine and it didn't specify that the photo was Charlotte. I'm almost 100% sure it is her.

ebay

 

[Harumi]

^It is defo Charlotte.
Stardust Memories is absolute genius imo but I though it was very unlike any other Allen Movie. It was so 'Italian' in its construction and narration. Charlotte plays Allen's ex-girlfriend and she is haunting as hell.
Stunning, stunning woman.

Also, you just got yourself a nice little karma.

 

[60swildchild]

I'm afraid the only thing I've seen her in is The Swimming Pool. She has such a sexy, cool aura. Thanks for the karma!!

 

[style_expert]

^ swimming pool is indeed one of her greatest recent movies

 

[Ziegfeld Girl]

^It is defo Charlotte.
Stardust Memories is absolute genius imo but I though it was very unlike any other Allen Movie. It was so 'Italian' in its construction and narration. Charlotte plays Allen's ex-girlfriend and she is haunting as hell.
Stunning, stunning woman.

Also, you just got yourself a nice little karma.

Well, I think Fellini's 8http://www.imdb.com/title/tt0056801/ 1/2 was part of Woody Allen's inspiration for the film.

 

[Juls]

I dodn't know her, she is really beautiful!

 

[60swildchild]

SHE'S BUILT A CAREER--AND A CULT FOLLOWING--OUT OF USING PAIN, SEX AND DIFFICULTY AS TOOLS​

From: Interview | Date: May 1, 2001 | Author: FULLER, GRAHAM

Whether prey or praying mantis, Charlotte Rampling has, for 36 years, given herself to films that expose the wounds men and women inflict upon one another in the pursuit of power. She was a b*tch in iconic movies of the swinging '60s and she has eroticized degredation (The Night Porter, 1974) and even Thatcherism (Paris By Night, 1988). She vamped Robert Mitchum in Farewell, My Lovely (1975) and cracked up before our eyes in Stardust Memories (1980). She has been brittle, treacherous, sardonic and cruel, but vulnerable beneath it all--and never less than compelling.

Rampling's sister died in 1967, her marriage to Jean-Michel Jarre ended in 1997. It would be coy to pretend her evolving screen persona has not been informed by these upheavals. While she volunteers little information about her life, she presumably lays it all bare when she acts. In her two latest films, the February release Signs & Wonders and this month's Under the Sand, Rampling plays wives who, respectively, lose their husbands to adultery and suicide, and who shore up their devastated lives the best they can. As slender and dangerous as a whip, this astonishing English actress reminds us in both films that middle-aged women relish sex as much as anyone--and know more about its uses and abuses than the average Hollywood tootsie.

GRAHAM FULLER: What is Under the Sand about to you?

CHARLOTTE RAMPLING: Denial and acceptance of loss, something that's so fundamentally part of all our lives.

GF: Why do you think your character, Marie, is in such denial?

CR: So often people who lose someone prefer to live with the dead person, or in a kind of other world because they do not want to come back to the real world without the person that they love. The film is open-ended because nobody knows how anybody survives these kinds of things.

GF: The disappearance of Marie's husband was based on truth, wasn't it?

CR: Yes, Francois [Ozon, the film's writer-director] had witnessed a similar scene when he was 12 and was very affected by it.

GF: Was Marie's sexuality another reason you chose to do the film?

CR: No. The film evolved after we did the first part. Francois came to me with the idea and said, "I want to make the first 20 minutes and observe you, then I want to write about what will happen to this woman and we'll work through it together." Little by little, he absorbed who I am and where he could take this character because of who I am as a woman, not as an actor. As for the sexual side, there's that old idea that a man can carry on his sexual life until he dies, whereas a woman stops in her fifties because she can't have children anymore. Of course, it's not at all true. Obviously I can't have a baby, but I can be as sensual and sexually active as I was at 20 if I want.

GF: In many of your films, certainly in these two, you take control sexually.

CR: It's true, yeah. The most powerful moments in those films are me taking control, whether it's something the director's unconsciously willed or not. [laughs]

GF: In Signs & Wonders, do you think Marjorie sleeps with her husband [Stellan Skarsgard] to finish him off-to emasculate him?

CR: [pauses] There's something wild and almost mythological about that act. I'm not sure what it is, but it's extremely violent and extremely necessary. Sometimes you just have to complete something. Certainly Marjorie punishes her husband by making love with him. We do punish people in various strange ways-it's like we just have to. We can't always turn the other cheek. But there's great tenderness, too, because you don't lose that feeling for somebody you've lived with for that long. It's a whole sack of ambivalent feelings.

GF: Your work has never been cozy-it seems you've always been an the edge of emotional catastrophe.

CR: That's the only thing I understood really, so it's where I went to in my work. I played one or two softer roles in the beginning, and it was like working with blancmange. It didn't make any sense to me. I had to be on that edge. I used to think, Why can't I make my life easier by doing easier stuff? But if there were two films to choose from, I'd take the difficult, dangerous one, though I knew I'd be digging myself into a hole once again.

GF: You seem to lend yourself to sadomasochism in your films. It's seldom as overt as in The Night Porter, but usually the kind of sadomasochism that permeates domestic life.

CR: A lot of life is about hypocrisy, and films cover things over with pretty music, pretty actors, pretty stories. That's fine for certain types of films and I've got nothing against them, but they're not the kind of films that I could make, and that's why I haven't made many in Hollywood.

GF: Do you feel the emotional crises you've gone through have influenced your acting?

CR: I can't answer that. It's all connected, obviously. Everything that one has actually gone through is somewhere in there-it doesn't have to be in a particular scene that makes people think, "Oh, that seems to reflect her life." It's mysterious to me how it happens, because I don't have a plan or a method.

GF: Have you always proceeded with a sense of belief in your acting?

CR: I think it's the only thing I ever did with any kind of self-confidence. It was the only thing that didn't scare me. When I was doing it, it actually seemed like I was made to do it.

GF: Do you feel you've reached a good point in your life?

CR: Certainly a better one [laughs] and I think that recognition is a powerful balancer. It doesn't stop you moving on, but what I'm feeling now is a profound satisfaction, which I haven't felt for a very long time.

COPYRIGHT 2001 Brant Publications, Inc.

http://www.highbeam.com/

 

[style_expert]

there's a one page article on Charlotte in Vogue Italia January issue plus a beautiful full page picture of her ( a new one)..I'll scan it tomorrow

 

[style_expert]

unconventional women by Paolo Roversi (also with Betty Catroux and Fran Lebowitz)- Vogue Italia January issue



scanned by me