Death of Christine Boisson, night apparition – Redemption

Too often she was reduced to the first time in the erotic film “Emmanuelle“, the actress who had a successful career fled from the naked roles offered to her to embrace modern and mysterious women, with Antonioni as with Garrel. She was 68 years old.

Christine Boisson, to recognize a flame: a vague oriental complexion and eyebrows, a rebellious air and above all this high broad forehead, like Saint Justina of Padua painted by Bartolomeo Montagna. “Typical and atypical physics”, she said. When she died on Monday 21 October of lung disease, the concert of press reports cut the actress briefly to her first appearance in the coquin Emmanuelle (1974) by Just Jaeckin. We will allow ourselves, even if his career went further, to remember his very beautiful presence in the 80s: i Outside, Night (1980) by Jacques Bral, a pure product of France eighties period Blues Trottoir (Gérard Lanvin, Pigalle and the Place de la République in Paris before boboification and gluten-free), where she plays a femme fatale going against the grain of clichés, as a flapper taxi driver accepting love in the back seat as payment for the trip. Then, in a completely different genre, by Michelangelo Antonioni i Identification of a womanwhere she gets a priori the thankless role – Ida, the second woman who enters the life of the filmmaker in crisis Niccolo (Tomas Milián), after his interesting and mysterious mistress Mavi evaporates into the mist. As in VertigoBoisson is the other woman, warmer and more faithful, like Judy who contrasts with Madeleine in Hitchcock. But the actress still put a kind of opacity and attractive modernity in it. Surprisingly, when Ida and Niccolo break up, it is through a choreography of unusual situations that takes place amidst the furniture and windows of a Venetian hotel lounge, where her head in the style of a Renaissance portrait fits perfectly into the staging of the interior designer Antonioni. Facing Niccolo trying to solve the mystery of women, Woman, she could only resist: “I’m someone like you, different gender but by chance.”

Before that, Christine Boisson, the daughter of a soldier and former model, was born in Salon-de-Provence in 1956, and grew up in Marrakech until the age of 9 (which gave her a love of the desert, explaining why she felt at home watching him often Career reporter d’Antonioni), then studied in Paris. To pay for her acting lessons, she modeled – which led to her being noticed, aged just 17, for filmingEmmanuelle. A performance she took from her filming and tired of the undressed roles offered to her on the channel there, she enrolled in the Conservatory to study theater further. She will then juggle between the stages (Chekhov, Racine, Pinter, Shakespeare) and the big screen, crossing everything that French cinema offers, that is to say to drink and eat: in 1984, she is the first recipient the Romy-Schneider prize and passes, without blinking at the haggard (Freedom at night by Philippe Garrel) until the fight (Barbarian Street by Gilles Béhat). Suddenly at the risk of being labeled a nerd, she rejoins Emmanuelle in his film, and leaves a journey that is eclectic to say the least – There are days and moons by Claude Lelouch (1990), A new life by Olivier Assayas (1993), Not Very Catholic (1994) by Tonie Marshall, Actors’ Member (2009) from Maïwenn – where she tackled everything with the same conviction; Yes, even with Delon’s wife facing Death behind a computer in the nana the Passage (1987).

Christine Boisson on fire, about to be burned too. She described drugs, alcohol and beating her mother “feeder”incestuous, who will insult her for turning in Emmanuelle demanding that Boisson give her his stamp – which she does. In 2010, she made headlines after attempting suicide from her apartment balcony. She will then explain that she wanted to emotionally blackmail her partner, who was unemployed at the time, to force him to fend for himself. “I am not the bourgeoisie, nor the mother, nor the whore,” she declared that Marie-Claire in 2003 to explain how, at last, she managed to use her face as a lead piece in many film programs, with the ageless girl’s childhood who has lived a lot (“At the age of 20, I had imagined myself as an actress and an old Indian woman, she said in 2013. Sitting cross-legged on a mountaintop, weathered, wise.”) Or maybe she was just modern, really. She confided, lucidly, that Liberty in 1984: “I have the feeling of fitting in perfectly with the era without thinking about it all the time.”