As a result, he became the most sought-after French actor since Charles Boyer. Though perhaps this hampered him, stymying opportunities to extend his dramatic range, any actor who was constantly in demand by both French studios and Hollywood producers had a lot to be grateful for. The film, which co-starred Maurice Chevalier and Leslie Caron, won nine Oscars, including best picture. He later widened the breadth of his work, and in old age was still one of the most handsome men on the screen, even if the films themselves seldom amounted to much. He was born in Marseille, one of the three sons of Henri Gendre, a hotelier who organised the Cannes film festival after the second world war, and Yvonne, from whose maiden name, Jourdan, Louis took his stage name. He was educated in France , Turkey and Britain, where he learned to speak perfect English with an accent that he was clever enough to realise he should keep superbly French.
French Aids drama BPM shows Hollywood how to capture gay history
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Category:French LGBT-related films - Wikipedia
Yeah, well, personality is everything. There are no stirring battle scenes, no looking great on horseback or wearing of beautiful armour in this version of the story of Joan of Arc. This is about accusations and guilt, and how far faith can be tested. The faces look so contemporary in this film. The nakedness of expression is moving, and Maria Falconetti is an amazing Joan of Arc, with wide eyes, brimming with despair or blazing with religious conviction. She changes from vulnerability to insanity in a moment. Joan suffers so visibly; there is a transparency to her.
32 of the best LGBTQ+ films you can watch right now on Netflix
Under normal circumstances, June busts out all over with Pride Month parties and parades. The gay neighborhood thumps with house music. The conditions are optimal for you to catch up on your queer cinema.
I t has been a landmark year for LGBT cinema. This is not radical in itself, of course: there exist far wilder sights and statements in the annals of queer cinema than anything in BPM. Yet until now, the Venn diagram of queer films and films expressly about LGBT history has been one of minimal overlap: previous films about the Aids epidemic and the advocacy movements it spawned have been largely tidy, tasteful affairs, geared more towards educating viewers unaffected by the disease than energising and emboldening those caught in its grip. TV has been more generous, serving up such thoughtful works as Angels in America, And the Band Played On and The Normal Heart — all, however, constrained by the demands of the small screen.
