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Charlotte Rampling’s reputation doesn’t entirely make sense. She is an actress of extraordinary intelligence and sensitivity, with a rare, charismatic beauty and sexual force that has lasted well into her 60s. Charlotte Rampling grew up in England in the 1940s and 1950s, spending ample time across Europe. In her late teens, she began a career as a model, which quickly led to her being noticed and appearing many movies and TV shows.
Seventies and Eighties movie star
Juergen Teller and Charlotte Rampling: Artist and muse - BBC.com
Juergen Teller and Charlotte Rampling: Artist and muse.
Posted: Fri, 12 Feb 2016 08:00:00 GMT [source]
Showing no signs of slowing down in her sixties, Rampling returned to modelling in 2014 when she was named brand ambassador for Nars Cosmetics, with founder Francois Nars describing her as “a natural beauty that feels strong, yet relatable”. Rampling’s silver screen career really took off in the Seventies and Eighties with films like The Night Porter and Woody Allen’s Stardust Memories. The brunette beauty soon landed her first major film role with Georgy Girl in 1966. Starring alongside Lynn Redgrave and Alan Bates, Rampling had a classic Sixties bouffant hairdo in the film.
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It is hard to imagine her being ruffled by anything. She needs a minute to put her bags down, she says, as she checks in at the hotel, then I should come up to her room and we can talk. She puts on her sunglasses and disappears into the lift. Click through the gallery above to discover why the Lifetime Achievement Award she received from the European Film Awards in 2015 was well deserved. Born on February 5, 1946, Charlotte Rampling became a fashion icon in the 60s. Her work in arthouse movies in England, France and Italy made her a star of European cinema.
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I couldn’t be bothered with anybody telling me about anything so I don’t do that with my kids. If they want to chat about something, that’s different. But I’ll never put my opinion forward to them, because I think that’s handicapping people.
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I think it’s more frightening to tamper with time and nature than to have plastic surgery. If you will allow yourself that luxury to be old – to be maybe ugly, to be more unattractive, to be less desirable, all that – if you allow yourself as an actor to be that at certain times, you’ll find that the rewards are extraordinary. That may be so, to her mind, but Rampling has been in the public eye since the 60s. She was plucked from the secretarial pool as a teenager by an executive on the floor above who thought she looked pretty and asked her to appear in a Cadbury’s advert.
Actress
Rampling’s last partner was the French journalist Jean-Noel Tassez, who died in 2015. Rampling spoke out in 2016 about the efforts to boycott that year’s Oscar ceremonies over a lack of “racial diversity,” amongst nominees who were “racist to whites.” She later apologized that her comments had been misinterpreted. Fluent in French, it was inevitable that Rampling would be in demand from French directors and here again, Rampling chose challenging roles, refusing to be typecast and never opting for the easy or orthodox.
More recently in 2016, with actress Tilda Swinton, Rampling and Swinton appeared at MOMA in Paris as human easels, holding and interacting with portraits and landscapes by celebrated photographers such as Richard Avedon, Brassai and Irving Penn. This cerebral, thought-provoking exposition directed by Olivier Saillard, the director of the Palais Galliera, was the perfect vehicle for Rampling and Swinton’s unique looks and personas. Rampling’s father was a British army officer and consequently she spent many of her formative years in Gibraltar, France and Spain. Back in Britain, Rampling’s distinctive looks were soon recognized by a casting agent and she never looked back.
But I feel compelled to say that Kate’s final gesture at the end is a wonderful stroke of direction that Rampling executes unerringly, saying more by jerking down her arm than most actors can reveal in an entire scene. The movie’s themes are subtle and subjective; for Rampling they can be described as the consequence of unfinished business. ‘‘There are things Kate has compromised on, and that’s fine — that’s what people do, because they don’t want to rock the boat. ‘‘Then this thing happens, it all comes up to the surface, and she doesn’t want to face it. She doesn’t even know what she’s got to face.’’ In other words, Rampling isn’t being mysterious as much as she is revealing the mystery of us all.
It took Charlotte Rampling, Tom Courtenay ’45 Years’ to become friends
The following year, Rampling starred opposite Tom Courtenay in the film 45 Years and garnered a slew of award nominations including best actress at the Academy Awards (Brie Larson was the eventual winner). By the time this year’s festival is over, you can be sure there will be plenty more to add to the list. I think you have to think of being; I think you have to think of being someone. If you’re an actor, you’re going to incarnate a human being. If you are brave and if you want to actually experience what it is like, really, you have to be a developing actor and a developing human being at the same time, because the two things are always together. You can’t develop as a human being and not develop as an actor and vice-versa.
She went on to star in many European and English-language films, including Stardust Memories (1980); in The Verdict (1982); Long Live Life (1984), and The Wings of the Dove (1997). In the 2000s, she became the muse of French director François Ozon, appearing in several of his films, notably Swimming Pool (2003) and Young & Beautiful (2013). On television, she is known for her role as Dr. Evelyn Vogel in Dexter (2013). I didn’t want to be in England at that moment, so it suited me. And Italy is the most wonderful country to work in.
They so love beauty and they so love what they’re doing, they so love the actual art of filmmaking. I don’t think Fellini’s films or Visconti’s films ever made any money. It was so different from the way the English and the Americans were working, there was such passion.
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