#french article

“The current erasure of the testimonies condemning Jean-Marie Le Pen, including by those who dislike him, is allowed by two things: Algerian testimonies are seen as automatically illegitimate, so is the recognition of the crime committed by the colonial republic.”

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Tonight we went to see DIR EN GREY, a Japanese progressive metal band, play at Rocher de Palmer in Cenon. The evening went well, there was no opening band. The show, which started around 9pm and lasted around an hour and fifteen minutes, also displayed horrific visuals and diversified music.

Today, I would like to take advantage of that show to talk about another phenomenon. This article states my personal opinion and what we witnessed at the venue. It doesn’t reflect the reality nor is it a general case for all fans.

The sulfur of Tina Aumont Flash appearances, unforgettable presence

Dominican origin by her mother, she is already doing the 4th cover - colors of A Week of Paris (n ° 44) of August 27, 1947 - with her father and her mother: "Jean-Pierre Aumont, already a happy father, comes Tina Aumont (born Maria Christina Salomon on February 14, 1946 in Los Angeles) died on October 28 in Port-Vendres from a pulmonary embolism.

Fifty films.

Beginnings in MODESTY BLAISE (Losey, Tina Marquand - then - is already stabbed in a funfair) followed by THE CURÉE, TEXAS NOUS VOILÀ with Delon, Dean Martin. The career wish will be foreign to Tina Aumont. One of the most beautiful movie actresses. Eyes and eyelids largely surrounded by black. Braising glares. Taciturn airs. Thick ebony mane or curly redhead. Icon of the sixties and seventies, underground musical scene, pictorial (Pardo, paintings of the CRYSTAL CRADLE), cinematographic (THE HIGHEST SOLITUDES the most beautiful Garrel - with Jean Seberg, Nico, it will be seen in NICO ICON, NECROPOLIS of the painter Franco Brocani with Viva, L. Waldon, Nicoletta Machiavelli), Tina Aumont turns quickly to Italian cinema.

PARTNER (1968, an aggressive film with Bertolucci's shocked story, in biting colors, fed by Artaud) with Clémenti coming with his double. Scene of eyes painted on the eyelids, bath in the foam of the washing machine. The same year the barefoot girl will be circled in a SATYRICON (formerly Fellini) by G.L. Polidoro, she turns ALIBI of V. Gassman and Adolfo Celi, then comes Bolognini (METELLO, THE GREAT BOURGEOISE), Samperi (MALICIA), Lattuada, ARCANA of These, G. Ferrara, B. Rondi, Patroni-Griffi, the last Minnelli (NINA) shot in Italy. Appearances as brief as they are dazzling. Laughing gaze of the girl in white dress smoking on the swing in the films of Pierre Clémenti, Tina or the madness of time at present. CASANOVA versions Comencini (the most beautiful), Fellini - his "little soldier" - beautiful (mischievous, bright) to curse a saint. Marie-Madeleine (LE MESSIE, Rossellini). The whore (witness) of ILLUSTRIOUS CORPSES (Rosi). Main role in little-known films. Many unpublished in France.

L'URLO's shock (T. Brass, 1968) erotic pop too daring to find an outlet. Undressed silhouette always moving pacing devastated colorful decors. Tina Aumont is less visible in SALON KITTY (Brass, 1975). Wife (in the shadow) of Wallemberg (Helmut Berger), her first appearance is the first smile of the film. With a kind of restraint, an economy in gestures, she introduces Teresa Ann Savoy to their home. This restraint is at the same time invitation. The invitation is reflected in the smile and the look. She serves them tea. She is the only smiles of a movie where the relationships between all the other characters are rather tense. The smile in the first scene where she opens the door is a moving smile, in several times. She goes with the music. Wallemberg is at the piano.

M. Lupo, S. Martino, Grieco, Canevari. Diversity fuels curiosity.  CORBARI (1970) beautiful film by V. Orsini with Giuliano Gemma, and the great Frank Wolff who will slit his throat the following year. Dance and cascading laughs of Carmen, last breath in a last kiss in the desert stabbed by Franco [Don José] Nero, MAN, PRIDE AND THE VENGEANCE (western of L. Bazzoni, 1967).

At the time of excesses, and the hectic filming SECRET DE LA VIE (A. Whitelaw, 1974) another beautiful film, crazy (theme death, so time - extensive program), shot in Amsterdam, with K. Kinski (Also in the previous one), Tina Aumont - still adept of the bicycle (between two knots with double helix) - made piquant remarks, aiming at the author of the film.

“I am compared to nicotine: I am oxygen. (...) They think I take, but I give: I am the breath. I stimulate. I provoke. People would like to love me dead. It would be so much simpler (for them): I disturb them. But I'm alive, and I intend to continue. To live. To make movies. (...) I am not invasive, but I am a presence that can not be ignored. Whether in front of a goal or in a room, it's like that. (...) I am not an actress. Cinema is my way of life. I can not consider life without making movies".

With the exception of Jacques Richard (REBELOTE in 1983) the cinema will ignore Tina Aumont for a quarter century. Tina Aumont detonates in French cinema, cloisonné where only a few friends (Garrel) have made it turn.

The 90s: Rollin filmed for a few minutes in TWO VAMPIRE ORPHANS who could have made a singular Bathory, a video film DINOSAUR FROM THE DEEP shot in a cellar under the director's video-club, N. Moutier, square de Montholon - the film more underground than I turned loose Tina Aumont descending underground, a fantastic short ... Ultimate appearance: LA MÉCANIQUE DES FEMMES (Missoltz, 2000). The best of a movie that we would forget without it. 50 seconds. A map. Warm tones. Black dress. Red lips. Sitting at the bar of a hotel. A monologue. Smoking cigarette between the fingers. The actress seems to have staged herself. To Rémi Martin: “You know who I am ... A debauchee. Rushed! Luxurious. Corrupt. Disorderly. Immoral. Libertine. Dissolute. Voluptuous. Naughty. Fucker. Depraved. Immodest. Vicious. And despite all that, I succumb. Two cups, please, boy!” Nice exit! To revise the plan, it's a royal exit! Discreet release of a large lady. We could have hoped for a fresh start.

2002, I see Tina Aumont in a feeding area. Mystery whole, intact. Idea of ​​a book taking her films one by one, involving a series of interviews. At first rough. She was not against it. We had to give it time. Cautious approach, like a cat. My calls refer to others. Insistent. She planned to write. Time seems to be very present for her. Saver of words. Hoarsely. Laughing gushing hoarse. It amused her when I mentioned Mary Meerson to whom she reminded me. She tells me about the streets of Briançon. Tina remembered if something was asked. I'm talking about the project to Michel Bulteau, leaving for some interviews. Time passes. The last thing considered, write these lines. Tina Aumont's life looks like a tragedy.

Alexandre Mathis

http://https-alexandre-mathis.over-blog.com/2019/09/tina-aumont.html

3/11/19

more french research :)