Word: darrieuxs
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...voices in the film's original French version are provided by Mastroianni, Deneuve and that goddess of 30s and 40s French cinema, Danielle Darrieux (as the grandmother). Other celebrities will voice the characters when Persepolis opens in the U.S. The reception is likely to be warm there - but will Satrapi ever experience anything like the epiphany of that first response to her film, one afternoon in Cannes...
Imagine a murdered man in the upstairs bedroom and the 8 Women in his life left to decide whodunit. What would they do? Bitch, bitch, bitch--and then break into song. Francois Ozon's color-coordinated catfight assembles eight fabulous femmes (Catherine Deneuve, Ludivine Sagnier, Virginie Ledoyen, Danielle Darrieux, Isabelle Huppert, Firmine Richard, Emmanuelle Beart and Fanny Ardant) for a game of hide-and-shriek, with each star given a guilty secret and a solo chanson. Ozon, the bright hope of French pop cinema (Water Drops on Burning Rocks, Under the Sand), lets the gals get a bit too chatty...
Dangerous, Fragmentary. There were important distinctions, Naud conceded, that the film had blurred. Piaf, among others, simply sang to make a living, and often succeeded in cheering up the French in those grim years. On the other hand, Actress Danielle Darrieux, shown boarding a train to Germany in Let's Sing, acted in German films and entertained Nazi soldiers in army camps. Even more disturbing to French audiences were shots of Maxim's restaurant, which was jammed with German officers and French businessmen, and of high-living socialites of le tout Paris attending cocktail parties given by Otto...
Died. Anatole Litvak, 72, Russian-born film director best known for the original version of Mayerling (1936), starring Charles Boyer and Danielle Darrieux, and The Snake Pit (TIME cover, Dec. 20, 1948), starring Olivia de Havilland, which was acclaimed as Hollywood's first realistic examination of insanity; in Neuilly, France...
There are other rawly juxtaposed scenes: smiling French stars like Danielle Darrieux heading for Berlin to make films for the conquerors; an SS general being cordially greeted in Paris. Such things reveal one edge of Director Marcel Ophuls' purpose: anti-heroics. He tries to puncture the bourgeois myth-or protectively askew memory-that allows France generally to act as if hardly any Frenchmen collaborated with the Germans. The Sorrow and the Pity does that with a vengeance, but the bare facts of such an expose are hardly news. Happily, Ophuls, the son of noted Director Max Ophuls, also...