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Sylvia Kristel: From Emmanuelle to Chabrol

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Speaking of Huppert, probably the great role that I would have most liked to have seen Sylvia in was in Pialat’s masterful LouLou. It would have given Sylvia another opportunity to work again with the great Gerard Depardieu (who she had held her own with in the marvelous Rene the Cane) and I think would have completely reshaped her career for the eighties. Plus, I could access material on many of the great Dutch artists that she worked with throughout the early and then late seventies. This really helped flesh out the book, and it was amazing getting to read long-lost interviews with not only Sylvia but people like Rutger Hauer, Renée Soutendijk, Laura Gemser and so many of these great film figures that Sylvia worked with. Ignoring all that, her work in both La Marge and Alice are the ideal entry points. I highly recommend the recently released Sylvia Kristel 1970’s Collection from Cult Epics as it allows viewers not only the opportunity to see two of her finest Dutch films ( Mysteries and Pastorale 1943) but also her brief turn in Playing With Fire for another one of her great directors, Alain Robbe-Grillet. She was cast to play the part of Stella in Roman Polanski's film The Tenant (1976) but, after one day of shooting, she was replaced by Isabelle Adjani. In 1977, she was invited to star as Hattie in Louis Malle's controversial erotic drama Pretty Baby (1978) but the role eventually went to Susan Sarandon instead. Several years later, the director wanted to cast Kristel as Ingrid in his next film Damage (1992), but the actress was unavailable at the time. She was friends with Sergio Leone who wanted her to play the role of Carol in the movie Once Upon a Time in America (1984); the producers did not agree to her participation and the role went to Tuesday Weld. In 1982, she was turned down by Tony Scott for the role of Miriam in The Hunger (1983); Catherine Deneuve ended up playing the part. She was considered for the role of Lois Lane in Superman (1978), which went to Margot Kidder. Sylvia unsuccessfully applied for the role of a Bond Girl in the movies: The Spy Who Loved Me (1977), Moonraker (1979), For Your Eyes Only (1981) and Octopussy (1983). Emmanuelle is the lead character in a series of French erotic films based on the main character in the novel Emmanuelle, created by Emmanuelle Arsan, which was written in 1959 and published in 1967.

JULIA (Germany, 1974) Sigi Rothemund. Bonus features: 2K Transfer, Audio Commentary by Jeremy Richey, Theatrical HD Trailer and more tba. I write in the book that for me Sylvia absolutely personifies the period that she came of age in, and you can see the hopes of the sixties, the liberation of the seventies to the ultimate disappointment of the eighties in Sylvia’s career like no other. Her career also coincided with both the sexual revolution along with the Feminist movement. I was so happy the day I found the quote by her from the mid-seventies defiantly describing herself as a feminist who believed in equal pay and rights for all women. That was key, as she was ridiculed by so many for Emmanuelle and her general openness towards nudity in film. Along with Richey’s book, this hopefully is a harbinger of things to come, light shone into the caves. JR: You can sense throughout Sylvia’s entire career, even in her weaker roles, that her prior experience with dance and movement was pivotal to her work onscreen. For example, if you watch Mysteries, the haunting Dutch film she made with Rutger Hauer on the freezing Isle of Man in 1978, you can see Sylvia utilizing her body much differently than her more trained peers like Hauer or Rita Tushingham. It’s all in her posture and the way she allows (and even invites) the cold to push her entire being forward. Emmanuelle originated as a pen name for Marayat Rollet-Andriane, a French-Thai actress who wrote a book in 1957 called The Joys of a Woman, which detailed the sexual exploits of a bored housewife. The first Emmanuelle film debuted in 1974 and starred Sylvia Kristel, who became synonymous with the role. The film embraced its X-rating and became a success, with an estimated audience of 300 million. It remains one of France's most successful films. Several sequels followed, with Kristel reprising her role. Unofficial productions, spinoffs, and a video game also emerged, capitalizing on the Emmanuelle craze. The explicit content in the films varied from softcore to full hardcore, though no penetration or oral sex made it to public versions.After a hiatus of eight years, she appeared in the film Two Sunny Days (2010), and that same year, in her last acting role, she played Eva de Leeuw in the Italian TV film The Swing Girls. [11]

MYSTERIES (Netherlands, 1978) Paul de Lussanet. Bonus features: 2K Transfer, Audio Commentaries by Peter Verstraten and Jeremy Richey, Vintage Interviews 1978 HD, Theatrical HD Trailer and more tba. JR: Pialat was very vocal at the time about how disappointed he was and even had Huppert and Depardieu watching Sylvia onscreen in the film, so in a way he got her in his film anyway. Funnily enough, he had also put her image in his earlier Passe ton bac d’abord. Pialat was just one of a number of truly masterful filmmakers inspired by Sylvia, who sadly never got to work with her. Polanski was another, and of course Bergman. I look upon these missed opportunities as just adding to the richness of her story, although looking at the films she could have made in the eighties if she hadn’t mistakenly come to America and became saddled with such outfits as Cannon does leave a lump in my throat. SOM: If someone has no idea who Sylvia Kristel was, and wants to see her in action, where would you suggest they start and why? What role captures her best? De echte 'Emmanuelle' verslond mannen, maar hield eigenlijk niet van seks". nieuwsblad.be. 8 October 2019. The vintage interviews were so eye-opening, and I felt so grateful to have them to help tell hers and the film’s stories. I’m sure for some readers it will be too much, but I wanted Sylvia’s own voice in the book as much as possible. I already knew that my approach of not being an impartial observer, as well as offering my own critical takes of the films (especially the later American work), would turn off some folks but I just soldiered on with it. This was a very emotional and personal book to write and I hope that comes through for readers.La Marge (1976) ( The Streetwalker, also released as Emmanuelle 77), directed by Walerian Borowczyk. Bonus features for Juliaare headlined by Jeremy Richey himself, who provides commentary.Though his delivery can be a tad stilted and his mic could do with a pop filter, he proves to be the easiest listen of the set’s three commentaries.Such accessibility goes a long way in encouraging the viewer to stay with it.Obviously, Richey has done extensive research on all of Kristel’s films; here as he deep-dives on Juliascene by scene, one could be forgiven for assuming his interest centers on this title.He talks with friendly authority about all the talent involved, as well as the film’s context within the “Bavarian Sex Comedy” niche as well as the broader emerging “coming of age sex comedy.”Aside from Richey’s fine commentary, bonuses include a poster & image gallery, as well as Julia’s trailer.

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