Sylvia Kristel: From Emmanuelle to Chabrol

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CINE REVUE TELE-PROGRAMMES - 60e Année N° 9 du 28/02/1980 - Les drogues qui tuent / Pourquoi ces bides au cinéma / Philippe Noiret / Sylvia Kristel / Tom Horn avec Steve Mc Queen Mysteriesis an admittedly difficult film to warm up to narratively, insofar as Hauer’s seemingly wealthy character remains, well, a mystery throughout.Amid that, Richey is correct in stating that the actor was “at the peak of his powers, and it is transfixing watching him and Sylvia together”.(This holds true even as the story never allows for the degree of sexual heat that many fans, keen to both actors’ erotic reputations on screen, were anticipating).To everyone’s credit, including fellow notable actors Rita Tushingham ( Smashing Time) and David Rappaport ( Time Bandits), it’s never hard to settle into Mysteriesclassical, old-world mise-en-scène. Like Pastorale 1943, Mysteriesis adapted from a highly regarded novel, this one by prolific Nobel prize-winning Norwegian author Knut Hamsun.Originally published in 1892, long before Hamsun would go on to side with and even meet Hitler and Goebbels, his book Mysteriesmade its mark.The once-celebrated late author’s tainted political history is just one reason why Mysterieswas a challenging adaptation to film.It’s a story that is both big yet internal; staunchly of its time yet brazenly ahead of it.Director Paul de Lussanet manages the task well enough, his result being at times cumbersome but never lifeless. Kristel, Sylvia (2007). Undressing Emmanuelle: A Memoir. London: Fourth Estate. ISBN 978-0-00-725695-2. As much as I regret that she passed on opportunities to work with directors like Ingmar Bergman and Maurice Pialat, which I detail towards the end of the book, I want the proper focus to be on the great work she did. Like Elvis, her story is part tragic but mostly triumph. It’s a bummer that works like Une Femme Fidele, La Marge and Alice have yet to get their due, but they will. Great art survives and Sylvia made a lot of it, throughout a number of fields.

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JR: Even though I do think her career happened at the ideal moment, Sylvia was far ahead of her time as well, which is one reason that more later sex-positive feminists like Camille Paglia were much more accepting in retrospect than some of her peers. It is also super important to remember that Sylvia worked with and was friends with the great Feminist Dutch filmmaker Nouchka van Brakel, who was actually a key member of the Dolle Mina (The Netherlands’ most radical Feminist organization). It’s also worth noting that nearly everyone of Sylvia’s editors throughout the seventies were women, so all of these cultural revolutions of the period powered by women were bubbling under in these seemingly male-made films. She was cast to play the part of Stella in Roman Polanski's film The Tenant (1976) but, after one day of shooting, she was replaced by Isabelle Adjani. In 1977, she was invited to star as Hattie in Louis Malle's controversial erotic drama Pretty Baby (1978) but the role eventually went to Susan Sarandon instead. Several years later, the director wanted to cast Kristel as Ingrid in his next film Damage (1992), but the actress was unavailable at the time. She was friends with Sergio Leone who wanted her to play the role of Carol in the movie Once Upon a Time in America (1984); the producers did not agree to her participation and the role went to Tuesday Weld. In 1982, she was turned down by Tony Scott for the role of Miriam in The Hunger (1983); Catherine Deneuve ended up playing the part. She was considered for the role of Lois Lane in Superman (1978), which went to Margot Kidder. Sylvia unsuccessfully applied for the role of a Bond Girl in the movies: The Spy Who Loved Me (1977), Moonraker (1979), For Your Eyes Only (1981) and Octopussy (1983). Condition: Aceptable. Autor: Varios. Editorial: GRUPO ZETA. Fecha Edición: 1979. Materia/s: H2PIFRRT13. Estado: BIEN. Buen estado general. Entre otros articulos incluidos en el numero: Corrupccion en R.T.V.E, feministas un partido para victimas, la ruta de la cocaina. Revista / Publicación.

Ignoring all that, her work in both La Marge and Alice are the ideal entry points. I highly recommend the recently released Sylvia Kristel 1970’s Collection from Cult Epics as it allows viewers not only the opportunity to see two of her finest Dutch films ( Mysteries and Pastorale 1943) but also her brief turn in Playing With Fire for another one of her great directors, Alain Robbe-Grillet. My worst is all out in the open. It makes it necessary for people to tell you about themselves.” — Katherine Dunn Kristel was married and divorced twice. She is survived by her partner, Peter Brul, and a son by the Belgian author Hugo Claus, a partner from the mid-1970s.Richey makes no bones of the fact that 1974’s Julia( Es war nicht die nachigall) made a point of riding the pronounced coattails of Emmanuelle.This despite the reality that this somewhat jumbled entry in the “Bavarian Sex Cycle” of the time was actually filmed before the latter phenomenon.It’s tempting to claim that that accounts for Kristel’s limited screen time, as the actress had yet to explode in popularity at the time of Julia’s production.A more certain claim would be the obviousness in naming the movie after Kristel’s character- her first name only, at that.Her character Julia, however brief her cumulative presence, isa vital and unforgettable part of director Sigi Rothemund’s eighty-eight minute sexually charged coming-of-age vacation film. Sheila O’Malley: Your passions and obsessions run deep and wide. It’s one of the reasons why you are such a compelling writer, and why I was so drawn to your blog, Moon in the Gutter, the moment I discovered it. Having read you all these years, I am familiar with your tastes – the people who matter to you artistically – so I am very curious about your desire to choose Sylvia Kristel as the subject of your first book. What started you on this journey? When did it segue from blog-posts to book idea?

The producer of another Arsan/Rollet-Andriane film Laure, Ovidio Assonitis, claimed that all books published under the pen name Emmanuelle Arsan were written by her husband Louis-Jacques Rollet-Andriane, rather than by Marayat. [1] Films [ edit ]Speaking of Huppert, probably the great role that I would have most liked to have seen Sylvia in was in Pialat’s masterful LouLou. It would have given Sylvia another opportunity to work again with the great Gerard Depardieu (who she had held her own with in the marvelous Rene the Cane) and I think would have completely reshaped her career for the eighties. When released in 1974, the erotic French film Emmanuellebecame a worldwide sensation that topped box offices and garnered controversy. The movie would catapult its starlet, Sylvia Kristel, into the limelight, but at the same time it would overshadow her. Kristel became synonymous with the Emmanuelle character whose specter she could never escape despite efforts appearing in a variety of other films ranging from auteur-made art house movies to lifeless commercial fare. During her lifetime, few critics and scholars took Kristel seriously as an actress. Jeremy Richey’s book, Sylvia Kristel: From Emmanuelle to Chabrol( SK:FETC) aims to rectify this oversight and help usher in a reassessment and a rediscovery of Kristel and her body of work.

JR: Seeing Sylvia in Walerian Borowczyk’s La Marge in the mid-nineties was the real turning point. I was so blown away and moved by both the film and her performance. Both had a major impact on me like no other and the genesis for the book really came from that moment, which was years before I started writing online. Also, some of it was anger as well as I felt, and feel, that a truly remarkable figure in film history had been all but ignored or written out of it. I wanted to help correct that. Plus, I could access material on many of the great Dutch artists that she worked with throughout the early and then late seventies. This really helped flesh out the book, and it was amazing getting to read long-lost interviews with not only Sylvia but people like Rutger Hauer, Renée Soutendijk, Laura Gemser and so many of these great film figures that Sylvia worked with. Emmanuelle 5 (1987), directed by Walerian Borowczyk, was released in two versions: one with softcore love scenes, and a French home video version that extended several scenes with hardcore sex directed by Borowczyk (apparently [ citation needed] Borowczyk said that he had not directed them). The scenes are the Love Express and dance studio segments, embellished with penetration, ejaculation and a woman urinating. This VHS version omits several minutes of footage seen in the public version (including dialogue and plot). Her Emmanuelle typecasting image followed her to the United States, where she played Nicole Mallow, a maid who seduces a teenaged boy in the sex comedy Private Lessons (1981). [9] Another mainstream American film appearance was a brief comic turn in the Get Smart revival film The Nude Bomb in 1980. Kristel began modeling when she was 17 years old. In 1971, before becoming famous, she took part in an audition for the female lead in the film Last Tango in Paris (1972) but lost out to Maria Schneider. In 1973, she won the Miss TV Europe contest. She spoke Dutch, English, German, and Italian fluently, as well as several other languages to a lesser extent. Kristel gained international attention in 1974 for playing the title character in the softcore film Emmanuelle, which remains one of the most successful French films ever produced.Emmanuelle 6 (1988) also had two hardcore scenes (one short without ejaculation, but with fellatio and penetration, between a man and a woman whom Emmanuelle watches in a horse box, and the second longer, with fellatio, penetration and ejaculation, starring the same couple entering the place where Emmanuelle is being held prisoner at the end of the movie), directed by erotic horror specialist Jean Rollin. However, they were not used in the theater version, but were included on a hardcore VHS version in France.