French actor, born on December 27, 1925 in Paris, real name Jacques Daniel Michel Piccoli.
Born in a family of musicians of Italian origin, Michel Piccoli opted to very young comedian nursing: had not complied with the fifteen years when he/she stepped on the tables of the legendary Théatre Babylone and shortly after joined as an apprentice in the company of Madeleine Reynaud and Jean-Louis Barrault, following usual learning Repertory works and the knowledge of the means of expression thanks to the daily observation, in scene, those wonderful actors. Since 1944, his first film appearance, up to the present date, Piccoli has been involved in nearly one hundred and seventy titles (if you count his work in television), which constitutes a record difficult to reach by any actor of his generation, especially if it is considered that since the beginning of the 1960s almost all these interventions have character of protagonist. In a so bulky list of titles you there from masterpieces to terrible titles just deserving oblivion; but have also occurred over the fifty years of professional activity relationships of significant loyalty, both directors and performers: featured are which has established with Marco Ferreri, whose orders worked on seven occasions, Luis Buñuel (six) or Claude Sautet (five); as for actresses, eight times he/she has matched with Catherine Deneuve; in seven, with Anouk Aimée and Romy Schneider; and in five, with Simone Signoret; and has kept stimulating replicas with Marcello Mastroianni (ten times); Yves Montand and Gerard Depardieu (six); and Charles Vanel and Ugo Tognazzi (five). On two occasions has been awarded at international festivals, although it has been rewarded in his country on many occasions: at the Cannes Festival in 1980 by jumping into the void (1979), Marco Bellocchio, and at the Berlin Festival in 1982 by Une étrange affaire (1981), Pierre Granier-Deferre.
The film career of Michel Piccoli was developed slowly in the beginning, because although he/she participated in over twenty-five films throughout its initial ten years, it failed to highlight secondary actors rank; He/She took part in several quirky comedies of Paul Paviot, incorporated various types of police officers in films of this genre that proliferated in France in the 1950s and participated in prestigious films, although in minor roles: with Jean Renoir in French can-can (1954), with Alexandre Astruc in Les mauvaises rencontres (1955), or with Luis Buñuel in death in this garden (1956). Late 1950s dating his first starring role: was always I loved you (1957), by Richard Pottier, which played a choreographer married Sonia Ziemann and harassed by Sylvia López and Annie Cordy, but neither the quality nor the commercial impact of the film helped to establish as true first figure.
Piccoli began the 1960s with a determined will to settle in the medium of film, if not in protagonist roles, since then antagonized qualified, which helped define his character and his interpretative personality: a hunk mature with sufficient doses of cynicism and sense of humor to build different personalities that were always attractive and powerfully called the attention of the Viewer; in this way, Piccoli was installed in that privileged trend that only the big players have achieved: always be itself and adapt any genuine characteristics. Conscious and reflective about the condition of the comedian, he/she has defined his attitude: "there are actors who are put in a trance, which is autocomplacen, who want to see them. I like to see the characters that I play. I'm not here to make my number [...]. I I specification, eclipso me. To be an actor is needed flexible, mouldable".
His character of Nuttheccio in the confidant (1961), by Jean-Pierre Melville, reveals this determined will of excelling in any deal. With Jean-Paul Belmondo as the protagonist, Michel remained in the background, but gave his interpretation a serene force and a forceful energy. The same occurred with their personification of Paul Javal in contempt (1963), Jean LucGodard: measuring with the powerful personalities of Brigitte Bardot and Jack Palance, Piccoli managed to trace the features of the mercenary writer to impregnate his performance of intense and ambiguous seduction.
From these two interpretations, major directors requested his collaboration since it was capable of displaying in a few brushstrokes defined a complex character traits: thus, Luis Buñuel you relied on diary of a Chambermaid (1964) the boastful Mr Monteil bourgeois or the cynic Henri Husson Bella's day (1967), that after assaulting the wife of his friend totally unedifyingIt gets to humiliate her when he/she meets his double life. At this time married Juliette Gréco, significant personality of the Parisian artistic intelligentsia: were married from 1966 to 1977.
He continued to work not only in movies but also in the theatrical scenarios. He/She had the opportunity of matching in 1966, thanks to the thief, Jean Chapot, that would be the most appropriate actress to share their emotional experiences on the screen: Romy Schneider. Over the following years, Piccoli and the unfortunate actress deployed a varied repertoire of complex emotional relationships, from the calm, with a point of tragic melancholy, of the things of life (1969), Claude Sautet, to the ferocious and cruel sordidamente of the trio infernal (1974), Francis Girod.
In 1969 came on the scene a director who had a decisive influence on the consolidation of the interpretive nature of Michel Piccoli: Marco Ferreri offered with the character of Glaucus in Dillinger is dead the possibility of interpreting to a solitary type, enclosed with their obsessions and their more black ghosts. Some of this obsessive and neurotically exiled from society personality traits were later used by Luis García Berlanga characterizing the pathetic (1974) life-size doll lover. Ferreri noted the less friendly side of Piccoli and awarded characters of continuous confrontation with the conventional and reactionary values, which exploited the sardonic verb and malicious expression of the actor. Perhaps more clearly irreverent and sarcastic characters which has interpreted Piccoli Ferreri orders are not de Buffalo Bill touching white woman (1974), where he/she had the opportunity to match another of his favorite actresses, Catherine Deneuve, or the Brother Jean-Marie blacks also eat (1988). Naturally, that trend somewhat prone to hubris, always contained by a rigorous discipline that has encouraged in many of his best interpretations, reached its peak on this feast of the excess that is the great binge (1973), in which, not by chance, Ferreri confronted him with three great actors (which also would be in other distributions) of similar characteristics, despite their contrasting singularities: Ugo Tognazzi, Philippe Noiret and Marcello Mastroianni.
At the beginning of the Decade of the seventies, when I was on their backs near eighty film performances, Michel Piccoli became independent producer, a decision linked to their level of commitment, not only as an actor, but as an individual who lives the contradictions and capitalist pressures of his office. Reasons your choice thus: "the work that we do depends completely from politics and the economy. I know people who selfishly living in his small closed world. I don't want to end up as well. I want to participate." (E) it bursts in a certainly aggressive way in the peaceful panorama of French cinema with the disturbing pamphlet Themroc (1972), which also starred in, and which instructs the radically protestor Claude Faraldo. Their intentions as producer continued demonstrating in the same vein of virulent opposition to the system and the congealed and unjust structures of society, offering opportunities to filmmakers who participated in that ideological attitude: Jacques Rouffio (seven deaths by prescription, 1975), Peter Fleischman (Der dritte grad, 1975), Bertrand Tavernier (tenants, 1977), Francis Girod (wild freedom, 1978) or Luciano Tovoli (Il generale dell'armata morta)1983).
Over these past years, Michel Piccoli has continued to develop that same activity that has characterized him in all periods of his career: in addition to participating in television series, it has remained faithful to the principals that had both artistic and personal and consequent complicity ideologically with his civic attitude, has always opted for the authors who proposed to him projects related to these concerns. Thus, he/she returned to work with Jacques Rouffio in testimony of woman (1982), and again along with Romy Schneider, embodying Max Baumstein, whose life has just ruined by the nazis, and Mon beau-frère a tué ma soeur (1986) an ironic parody of the detective genre; He/She repeated with Francis Girod in René Canne (1977); He/She participated in one of the films most controversial of Yves Boisset, the attack (1972), director who returned to work twice more and, finally, left drag by the excesses of discursive of Marco Bellocchio on jump into the void (1979), for whose performance won the prize for best actor at the Cannes Film Festival, and Gli occhi, the bocca (1982), where he/she was partner of cast Ángela Molina.
Michel Piccoli was the imagen-fetiche of Agnès Varda in the one hundred and one nights (1995) to represent symbolically the cinema (with capital letters); the Director acknowledged him with the character of Simon Cinéma, where, in addition, enjoyed the complicity of ladies and gentlemen, like Marcello Mastroianni or Jane Birkin.
In 2006 he/she participated in the film by Manuel de Oliveira Belle toujours, nothing less that an "afterword" of the Bell de jour de Buñuel, a game in which the own Deneuve refused to participate (was replaced by Bulle Ogier) and in which the Piccoli is reunited with his character. The film, made with a minimum budget, means a sacrcastica and splendid review mythical tape of Buñuel, where their characters are facing over the years and the confessions of a distant past in the course of a peculiar dinner.
1944: Sortilèges. 1949: Le parfum de Dame la in noir; Le point du jour. 1950: Sans laisser d'adresse. 1951: Terreur in Oklahoma. 1952: Torticola contre Frankensberg; Saint-Tropez, vacances devoir; Chicago Digest; Destinations of woman. 1953: Raiders of the Seven Seas; Interdit de séjour. 1954: Tout chante autour de moi; French can-can. 1955: María Antonieta; Les mauvaises rencontres. 1956: Death in this garden; Ernst Thälmann-Führer seiner Klasse; Les sorcières de Salem. 1957: Natalie; South called the ville; I always loved you. 1958: Les copains du dimanche. 1959: The dragée haute; La bête à l' affût. 1960: Le bal des espions. 1961: The confidant; Le Vergini di Roma; Le rendez-vous; Chevelure (short film). 1962: climates; Fumée, histoire et fantaisie (short film). 1963: the day and the hour; The contempt. 1964: The chance et L'Amour; L' amour; Diary of a Chambermaid; Paparazzi (medium-length documentary); Bardot et Godard (short documentary). 1965: Les ruses du diable; Parodie Parade; Marie Soleil; Double agents; The rails of the crime; Le coup de grace; Cafe Tabac (short film); Lady L; Tentazioni proibite (short documentary). 1966: would Paris burning?; The deception; The creatures; The war has ended; The thief. 1967: Bella's day; Spare a man; Mon amour, mon amour; Les Demoiselles de Rochefort. 1968: Love is a strange game; Diabolik; Benjamin, diary of a young innocent; The prisonniere. 1969: the milky way; Dillinger is dead; The things of life; Topaz; The guest. 1970: L'invasion. 1971: Audience; Getaway to the Italian; Max and scrap merchants; The prodigious decade. 1972: The attack; The discreet charm of the bourgeoisie; She, me and the other; Cagna/Liza; Themroc; The Lady in blue. 1973: The great binge; Le Far-West; Bloody relations. 1974: The ghost of freedom; Natural size; Don't touch the white woman; Three friends, wives and others; The infernal trio. 1975: Leonor; The faille; Seven deaths by prescription; Der dritte grad. 1976: anyway; F comme Fairbanks; MADO; The last woman. 1977: Power and corruption; L' imprecator; René the Canne; Tenants. 1978: Freedom wild; Le sucre; Strauberg Ist Da; The petite fille in velours bleu; Giallo napoletano.1979: Le mors aux dents; Le divorcement; Leap into the void. 1980: Der Preis fürs Überleben; Atlantic City. 1981: La fille prodigue; Une étrange affaire; Espion, lève-toi. 1982: Gli occhi, the bocca; Which les gros salaires levent le doigt!; A room in the city; Behind the door; The night of Varennes; The price of the danger; Testimony of woman; Passion.1983: Il generale dell'armata morta. 1984: Success Is the Best Revenge; Long live the vie!; The diagonal of the loco. 1985: Peril at the demeure; Starting, revenir; Adieu, Bonaparte. 1986: Mauvais sang; Mon beau-frère a tué ma soeur; Le nonentity; The puritaine. 1987: das Weite Land; The Rumba; Maladie d'amour; L'homme voile. 1988: Blacks also eat; Blanc de Chine. 1989: Marta and I; Milou in May. 1991: Archipel; The thief of children; Les equilibristes; The beautiful liar; Das Schicksal des Freiherrn von Leisenbohg; Contre l'oubli. 1992: Le souper; Le bal des casse-pieds; Fri crevee; From Time to Time. 1993: Ruptures; The cavale des fous. 1994: Bete de scene; The black angel; Al - Mohager; Train de nuit. 1995: L' L'univers de Jacques Demy (documentary); Deux fois cinquante ans de Cinéma Français (documentary); The one hundred and one nights. 1996: Party; Travel companion; Beaumarchais the insolent. 1997: Tykho Moon; Genealogies d' a crime. 1998: Simoom: A Passion in the Desert; Rien sur Robert. 1999: Libero burro; Paris Timbuktu. 2000: Les acteurs; Tout goes well, on s' at will. 2001: a fabulous je the maison. 2003: Ce jour-; A guy, a vrai; The petit Lili. 2004: Mal de mer. 2005: Espelho Mágico. 2006: Jardins in automme; Belle toujours.
1994: Train de nuit (also writer and performer). 1997: Alors voilà (also screenwriter).
1972: Themroc.1975: seven deaths by prescription; Der dritte grad. 1977: Tenants. 1978: Freedom wild. 1983: Le general de l' Armée morte.
1979: Confusion des sentiments. 1987: La ruelle au clair de lune. 1988: Sueurs froides (in the episode "Louis-Charles, mon amour"). 1989: Les familles large. 1995: Todliches Geld.
PICCOLI, Michel: Egoistes you Dialogues. 1976.
J. García de Dueñas