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She’s a woman who is tired of life, and she knows she’s going to die, but she had led an extraordinary life as a war photographer, so I didn’t want to fall into any caricatures. She had to be this tempestuous person who can get to be a little too much and has a bad temper, of course, but I always try to avoid anything that feels like a caricature. I wanted to make it into something I could play around with. However, her name was launched back into the A-list after her performance as a complicated aunt in the multi-award-winning The Wings of the Dove with Helena Bonham Carter. In 2000, Rampling was nominated for her own Oscar; her portrayal of a phenomenally distraught widow in Under the Sand was praised by critics and audiences alike as one of the best performances of the year.
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“I think he wanted, more than anything, a presence,” she says. “He thought I was the only actress of my generation that could really hold this character.” There is barely any dialogue, and it goes through the monotony of Hannah’s days in painstaking detail. Everything hangs on Rampling’s face, her familiar heavy eyelids and downturned mouth, showing horrors but not speaking them.
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The 50+ Best Charlotte Rampling Movies
That said, Rampling's most intense role was, arguably, that of a concentration camp survivor who is reunited with the Nazi guard (Dirk Bogarde) who tortured her throughout her captivity in 1974's The Night Porter. 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. She first appeared an extra in The Beatles movie "A Hard Day's Night" (1964) and her official credited debut was a year later in the British comedy "Rotten to the Core" (1965). A few years into her acting career, she became a favorite of the '70s European indie film scene, with notable controversial roles in "The Damned" (1969), "The Night Porter" (1974), and "Max, Mon Amour" (1986).
early 1980s: mature roles, Hollywood, and Italian cinema
She has just moved, she explains, to a new place in Paris, the city in which she has lived for decades, and nothing is where she expects it to be. “Yes, I really was pinging,” she says, with that imperious cut-glass accent. “Pinging is when you’re at the right place at the right time, and you know you can just make magic happen everywhere.” We don’t ping often in life, she says, but when we do, it’s wonderful. In that film, Rampling played one of her prickliest characters, a callous and ambivalent mother who prefers to blithely take a bath during her daughter’s (Kirsten Dunst) wedding reception rather than make small talk or give toasts with the guests downstairs. Tessa Charlotte Rampling OBE (born 5 February 1946) is an English actress, model and singer, known for her work in European arthouse films in English, French, and Italian. An icon of the Swinging Sixties, she began her career as a model and later became a fashion icon and muse.
Movies
She soon began making French and Italian arthouse films, notably Luchino Visconti's The Damned (1969) and Liliana Cavani's The Night Porter (1974). 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). Rampling is 73, riding the crest of another wave of an extraordinary career. She is in the UK to talk about her latest film, Hannah, in which she plays a woman whose husband goes to prison for an unspecified but clearly terrible crime.
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She briefly studied Spanish at a college in Madrid before dropping out in 1963 to travel with a cabaret troupe. Upon her return to England in 1964, she modeled to support herself while learning the craft of acting at the Royal Court Stage School. The character's combination of icy beauty, open sexuality, and disregard for responsibility - which the press dubbed "The Look," per a comment from her frequent co-star, Dirk Bogarde - would serve as a template for many of her future performances. Her most substantive work during this period, however, came in partnership with French director Francois Ozon. Their first collaboration, 2000's "Under the Sun," gave her talent a magnificent showcase as a woman crippled by grief and doubt over her husband's mysterious disappearance.
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It’s the kind of role we’re used to seeing from the great Rampling, who received her first and only Oscar nomination stateside for the British “45 Years” but has a trove of César and European Film awards on her mantle. She’s remained defiant of mainstream studio productions — other than dipping into IP territory with “Assassin’s Creed” and “Dune” — preferring outside-the-box European work. I came here into the movies almost by chance,” said Rampling, who began as a model before being cast as a Swinging ’60s ingenue in 1966’s “Georgy Girl” opposite Alan Bates and Lynn Redgrave. It’s really just what comes up that affects me.
On small films in particular, there’s a real sense of camaraderie—this sense that you’re all on an adventure together. We were all in the outback together, and we had to stick it out, so you might as well get along. [Laughs.] George was asking me about acting and tips for his performance and things like that, but I just said, “George, forget about all that and just be you.” Quite often these young actors work with acting coaches before the role, and they can be almost overtrained.
Awards and nominations
In 1975, Rampling starred opposite Robert Mitchum in the post-noir detective thriller Farewell, My Lovely, and offered a passionate rendering of a violent heiress confined to a mental institution in the French/Italian/German collaboration La Chair de l'Orchidée. The actress' success continued to grow throughout the latter half of the 1970s, and in 1980, Rampling played a lead role alongside Woody Allen in Stardust Memories, the follow-up to the much-hailed Manhattan. Shortly afterward, Rampling could be seen as the deceitful Laura in director Sidney Lumet's courtroom drama The Verdict (1982) with Paul Newman. Rampling spent much of the mid-'80s filming in Europe; one of her most notable performances during that time was as the mysterious mistress of a murder victim in the French crime thriller On Ne Meurt Que Deux Fois, though she would return to America for Alan Parker's Angel Heart. The heavily praised voodoo-themed crime thriller featured Rampling as an ill-fated woman whose heart is irrevocably extracted from her body.
Charlotte Rampling self-identifies as a “prickly” person. “Like a hedgehog or porcupine, you don’t necessarily get too close,” she told IndieWire. "I'm fatalistic about my career. That's how I can live out her [in France] and not be the center of things. I believe the projects that eventually work out were meant to be." --Rampling to Women's Wear Daily, March 9, 1988. "I think I looked for tortured subjects to correspond with how I was really feeling. It's interesting, isn't it? I know I have a comedy gift. John Cleese and Woody Allen have both told me that, but instead I play all these tragic ladies." --Charlotte Rampling in The Observer, September 25, 1994. After developing a flying web-cam Alain has his boss and wife over for dinner.
She turns up to be very rude, and the same night Alain finds a live rare Scandinavian lemming clogging up the kitchen sink. Los Angeles private eye Philip Marlowe is hired by paroled convict Moose Malloy to find his girlfriend Velma, former seedy nightclub dancer. A disturbed young woman is kept prisoner in a castle by her aunt for her money. The game-keeper, her guardian, tries to rape her but she escapes. In her flight she meets a man also running away, from two killers. The first is a modest provincial hairdresser while the second leads the great life in Paris.
“I discussed it internally, but boy, do you need help afterwards.” Where did she get that help? “You get professional help from psychiatrists and psychotherapists, reading a lot of philosophy and literature.” She says the book The Road Less Travelled by M Scott Peck helped greatly. Rampling is in her apartment in Saint-Germain-des-Prés, “which is just like the old Chelsea that I loved”. She is wearing shades, but takes them off to reveal those famous hooded blue-green eyes. “Juniper” takes a nonjudgmental approach to Ruth’s alcoholism — including the pitcher of gin she foists upon her grandson daily for a refill.
She married Southcombe and they had a son, Barnaby – now a film-maker, who directed Rampling in the movie I, Anna in 2012. It was such a contrast to how she felt in real life. Things were incredibly difficult, but there, I felt just great.” She didn’t go on to study drama, or perform in school plays.
Just like Juniper, Dune began with Denis Villeneuve wanting to meet with me. I knew all about Dune because way back when, I was being considered for Dune by Alejandro Jodorowsky, and my husband at the time, Jean-Michel Jarre, was wanting to do the music, so we were all talking about that for quite a while. And Dune was this very popular, cult book in the 1970s, so that started then, and then David Lynch did his, but I wasn’t in that. When Denis wanted to meet me, I just thought, This is lovely!
Part of it is asking yourself how you get into the mind of a younger actor, but it comes very naturally because everyone is human. Unless you’re in a place where you don’t really want to learn, you don’t really want to listen to others, then there’s always potential. When you’re working with the other actors and the director and the crew, it’s very intimate—you’re all intertwined for a certain period of time, and you get to know some of them better than you do your real friends because you spend so much time sitting around and talking and eating together.
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