French actor known for her role as the cantankerous widow in Tatie Danielle, the 1990 film directed by Étienne Chatiliez
With her remarkable portrayal of the cantankerous, mean-spirited and selfish widow in Tatie Danielle (1990), Tsilla Chelton joined the ranks of those elderly female performers who, after a long career in show business, suddenly find themselves as film stars. Like Katie Johnson in The Ladykillers (1955) and Ruth Gordon in Harold and Maude (1972), Chelton, who has died aged 93, finally moved into the limelight in her 70s.
In this second feature directed by Étienne Chatiliez, Auntie Danielle manipulates everyone around her, including her great-nephew, his family and a housekeeper whom she regularly abuses, until she meets her match in a young woman paid to look after her. Not pathetic or twinkly-eyed, as older people are generally depicted in the movies, Chelton, in the antipathetic title role, is on screen most of the time, not seeking understanding,...
With her remarkable portrayal of the cantankerous, mean-spirited and selfish widow in Tatie Danielle (1990), Tsilla Chelton joined the ranks of those elderly female performers who, after a long career in show business, suddenly find themselves as film stars. Like Katie Johnson in The Ladykillers (1955) and Ruth Gordon in Harold and Maude (1972), Chelton, who has died aged 93, finally moved into the limelight in her 70s.
In this second feature directed by Étienne Chatiliez, Auntie Danielle manipulates everyone around her, including her great-nephew, his family and a housekeeper whom she regularly abuses, until she meets her match in a young woman paid to look after her. Not pathetic or twinkly-eyed, as older people are generally depicted in the movies, Chelton, in the antipathetic title role, is on screen most of the time, not seeking understanding,...
- 7/22/2012
- by Ronald Bergan
- The Guardian - Film News
The French New Wave veteran has died aged 80. We look back over his career with a selection of clips from his films
Along with François Truffaut and Jean-Luc Godard, Claude Chabrol ushered in the New Wave that washed over French cinema at the end of the 1950s. Like them a critic turned filmmaker, Chabrol shared their appreciation of classical genre form – to some, he appreciated it too much, exploring rather than subverting its strictures. But his prodigious output and technical mastery assure his place as one of the great figures of cinema's first century.
Born in 1930 to a middle-class family, Chabrol studied law before joining Godard, Truffaut, Eric Rohmer and Jacques Rivette in making Cahiers du Cinema, the epicentre of auteurist celebration of 'low' Hollywood. In 1957, he and Rohmer published their influential study of Hitchcock – a director who would have an enduring influence on Chabrol's work behind the camera – and,...
Along with François Truffaut and Jean-Luc Godard, Claude Chabrol ushered in the New Wave that washed over French cinema at the end of the 1950s. Like them a critic turned filmmaker, Chabrol shared their appreciation of classical genre form – to some, he appreciated it too much, exploring rather than subverting its strictures. But his prodigious output and technical mastery assure his place as one of the great figures of cinema's first century.
Born in 1930 to a middle-class family, Chabrol studied law before joining Godard, Truffaut, Eric Rohmer and Jacques Rivette in making Cahiers du Cinema, the epicentre of auteurist celebration of 'low' Hollywood. In 1957, he and Rohmer published their influential study of Hitchcock – a director who would have an enduring influence on Chabrol's work behind the camera – and,...
- 9/13/2010
- by Ben Walters
- The Guardian - Film News
Claude Chabrol, who died Sunday, Sept. 12 at 80, was a founder of the New Wave and a giant of French cinema. This interview, which took place during the 1970 New York Film Festival, shows him at midpoint in his life, just as he had emerged from a period of neglect and was making some of his best films.
Claude Chabrol's "This Man Must Die" is advertised as a thriller, but I found it more of a macabre study of human behavior. There's no doubt as to the villain's identity, and little doubt that he will die (although how he dies is left deliciously ambiguous).
Unlike previous masters of thrillers like Hitchcock, Chabrol goes for mood and tone more than for plot. You get the notion that his killings and revenges are choreographed for a terribly observant camera and an ear that hears the slightest change in human speech.
For this reason,...
Claude Chabrol's "This Man Must Die" is advertised as a thriller, but I found it more of a macabre study of human behavior. There's no doubt as to the villain's identity, and little doubt that he will die (although how he dies is left deliciously ambiguous).
Unlike previous masters of thrillers like Hitchcock, Chabrol goes for mood and tone more than for plot. You get the notion that his killings and revenges are choreographed for a terribly observant camera and an ear that hears the slightest change in human speech.
For this reason,...
- 9/12/2010
- by Roger Ebert
- blogs.suntimes.com/ebert
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