Les petits mots de Romy

Romy Schneider
Romy Schneider

Romy Schneider écrivait. Beaucoup. Notamment sur les tournages. Tous les réalisateurs qui ont travaillé avec elle en témoignent. Certains ont gardé ces précieux trésors.

[ Google Translation ]

By Anne Audigier

An exhibition at the Cinémathèque, a beautiful book which will be released in October… Romy Schneider still inspires just as much. Clémentine Deroudille , the curator of the exhibition and retrospective dedicated to Romy Schneider at the Cinémathèque and Jean-Pierre Lavoignat, who is therefore dedicating a book to her, spoke about the actress in ” Le Grand Atelierphantom” dedicated to her by Vincent Josse.

Among the objects and other souvenirs to be discovered in the exhibition: Romy’s little words. Notes, telegrams, a few lines scribbled on a memo. These little words that she never stopped sending to the directors she worked with. ” It was both spontaneous reactions “, explains Jean-Pierre Lavoignat ” like ‘you didn’t look at me enough during the scene’. Sometimes it was excerpts from books. The son of Claude Sautet, who kept everything, showed me letters from Romy Schneider, where she copied pages from Freud or pages from Goethe to share them because it corresponds to feelings or emotions .

In this mass of documents, an exchange of telegram just before the filming of “César et Rosalie”.

September 1971: Romy Schneider is in Mexico where she is filming ” The Assassination of Trotsky” with Alain Delon. Sautet is working on his next film ” César et Rosalie”. He offered the role of Rosalie to Catherine Deneuve who, enthusiastic at first, let things drag on a bit. Sautet will tell later that he too let things drag on because he wanted Romy.

Jean-Pierre Lavoignat says: ” Sautet sends him a telegram on the set, offering him “César et Rosalie”, and Romy replies :

I know that Madame Deneuve refused it. I’ll be your Rosalie, but I’m not Rosalie.

A telegram in which there are mistakes, Romy Schneider not fully mastering French writes: ” She learned French in a quasi-phonetic way,” recalls Jean-Pierre Lavoignat “therefore in all the letters, even in the last years she writes, there are spelling mistakes that make it even more touching and sincere.”

We can also talk about a service sheet from ” Max et les ferrrailleurs “, where Romy Schneider with a greasy makeup pencil wrote: ” Mon Clo, you will tell the producer and the production manager that I will not come to dinner this evening, since neither the machines nor the electros were invited “.

Tavernier, with whom she shot ” La mort en direct”, said that on the set, she signed all these little words with the name of her character.

Costa-Gavras, who directed Romy Schneider in ” Clair de Femme” , adapted from the novel by Romain Gary, also remembers these little words: ” In the evening, when we parted, she would say little words to me. In the morning, when she arrived, she would say little words to me . One day Costa tells her that they can talk about it, that she doesn’t have to write. Romy’s answer fuses:

You have to write because talking takes flight, it goes away. Writing remains.

” I think she had to say her anxieties,” explains the director, ” anxieties that you can only have when you’re actors and actresses. Really great actors think about every moment. Every moment, there’s You have to get into the character. You have to be the character. Otherwise, the audience doesn’t believe it. “

Source: Les petits mots de Romy

The rehabilitation of Romy Schneider

As two film biopics of Romy Schneider are announced, it looks like Germany is finally reclaiming one of its most troubled daughters

BY: KATE CONNOLY [Orginally published Sept 2009]

The death of one of the German-speaking world’s best-known female actors could hardly have been more prosaic. Romy Schneider was found by her partner Laurent Petin, in their Paris apartment, sitting lifelessly at her desk. Slumped over the arm of her chair, an empty bottle of red wine in front of her, she had started to write a letter to a women’s magazine to cancel an interview. Her words broke off mid-sentence, the result of a heart attack, probably induced by a cocktail of drugs and alcohol. It was May 1982 and Schneider was just 43.

It is a scene which will be re-enacted in two film versions of the actor’s life due out next year, one called Romy, starring Jessica Schwarz for SWR, an affiliate of German broadcaster ARD, the other, Warner Bros’ A Woman Like Romy, starring German soap star Yvonne Catterfeld.

Variety magazine has described the Austrian Schneider as “a magnet for film-makers”. But it was not ever so. Germany is celebrating what would have been her 70th birthday this week and the commemorations, marked by the usual coffee table books, DVD re-releases and film posters, stand in stark contrast to the way the German-speaking world used to perceive her. She was viewed as something of a traitor for turning her back on Germany.

Unlike Dietrich or Hedy Lamarr, who both shunned Nazi Germany and were never fully forgiven for doing so, the younger Schneider’s “crime”, like many German stars before and since, was simply that she chose to make her fortune in the tougher but more lucrative film studios of Paris and Hollywood, where of course the most beautiful lovers also resided, rather than in the Germany of the economic miracle era.

The height of Schneider’s fame came with the hugely popular Sissi trilogy of the 1950s in which she played the 19th-century Bavarian princess who went on to became Empress of Austria. She later starred as a more mature Sissi once again in Luchino Visconti’s 1972 film Ludwig about the life of King Ludwig II of Bavaria.

She once complained: “Sissi sticks to me just like oatmeal.”

Indeed the Sissi roles somewhat overshadowed some of her other – arguably more memorable – film appearances, including Clive Donner’s What’s New Pussycat, Orson Welles’ The Trial and Jacques Deray’s The Swimming Pool, one of several films she made with her erstwhile lover Alain Delon.
Her early death certainly contributed to the mythical perception of her as the tortured woman of German film. After all her private tragedies certainly towered above the dramas in which she starred.

From the start her life was overshadowed by German history. She was born Rosemarie Albach in Vienna to her actor father, Wolf Albach-Retty, and her film-star mother, Magda Schneider. From their house they could see Hitler’s holiday domicile, Obersalzberg, where the Fuhrer received them, later declaring Magda to be his favourite actress. Romy would later claim her mother and Hitler had had an affair. It is perhaps no accident that she went on to play many Nazi-persecuted Jews.

She met Delon in 1959 and lived with him for five years, until one day he left her. His farewell note read: “Gone to Mexico with Natalie.” She slashed her wrists in response.

In 1966 she married the director Harry Meyen, a depressive due to the torture treatment he had received at the hands of the Gestapo as a “half-Jew”. He later hanged himself.

Her second marriage to her secretary Daniel Biasini ended in a divorce battle in 1981. She had an operation to remove a tumour on her kidneys, and then in the same year her 14-year-old son David punctured his femoral artery when climbing an iron-spiked fence at his step-grandparents’ home, and died.

“I’m just an unhappy 42-year-old woman and my name is Romy Schneider,” she said in one of her last interviews.

It has taken years since her death for Germans to fall in love with her. Two years ago she was voted Germany’s favourite actress by German broadcaster ZDF, and now, in time for her 70th, so many picture books and biographies have emerged that it seems her rehabilitation is almost complete. Next year the Filmmuseum on Potsdamer Platz will stage a glitzy Romy Schneider retrospective, complete with her costumes and jewellery.

It just goes to show that if you want to be loved, dying a young and tragic death helps no end.

Source: Kate Connolly: The rehabilitation of Romy Schneider | Film | The Guardian

Film Review: 3 Days In Quiberon

[ VARIETY FEBRUARY 19, 2018 ]

One year before her tragic death at the age of 43, Romy Schneider posed for photographs and gave an extensive interview to a German journalist while staying at a Breton spa hotel in Quiberon. Her magnetic personality and evanescent moods were memorably captured in the monochromatic images, and the interview turned into an unvarnished, emotional self-appraisal at a time when she was roiled in insecurities. That’s the setting of Emily Atef’s respectful, by-the-numbers semi-recreation “3 Days in Quiberon,” a fictionalized treatment inspired by those sessions. Marie Bäumer’s uncanny resemblance and fine central performance anchor what is ultimately a predictable treatment of a tortured actress, nicely lensed in black and white, that will find resonance in countries where Schneider remains a much-beloved star.

Schneider’s tremendous European popularity never made it across the ocean, largely because the “Sissi” films that made her a major celebrity at the age of 17 never achieved the cult status in the States that they did in Austria, Germany, and beyond. The film series was a highly romanticized concoction about Empress Elisabeth of Austria, and for many, Romy became the embodiment of that fiction. The teenage purity and sweetness worked against her as a woman, and her frustration at not being able to break free from the Sissi image led to her moving to France, where she chose ever more challenging roles designed to counter the studio’s anodyne construction. She also engaged in a series of well-publicized affairs, marriages, and divorces, making her major fodder for the tabloids. Continue reading “Film Review: 3 Days In Quiberon”