There was a third time Trintignant's leading lady was nominated for a major award while he was ignored. The New York Film Critics nominated Francoise Fabain for My Night at Maud's for Best Supporting Actress of 1970 along with Karen Black and Lois smith in Five Easy Pieces and Eva Marie Saint in Loving, giving the award to the deserving Karen Black.
I never cared much for A Man and a Woman. I didn't care at all for Anouk Aimée. Trintignant himself said he didn't feel much at ease working with her. He said he found her aloof, that he vastly preferred spending time with the child actors, which kind of came through in his performance. He was at his best in Z and The Conformist but he was always good, reaching his zenith in Amour when he was over 80.
I should probably give Silver Linings Playbook another look. At the time I found it illogical and disagreeable, little more than a bunch of disagreeable people yelling at each other.
Jennifer Lawrence, who could be good in other things, was totally unbelievable in her Oscar winning role. Robert De Niro was nominated for appearing in something other than the mostly paycheck things he was making at the time. Jacki Weaver was clearly a coattails nominee. Bradley Cooper was the best of the film's four Oscar nominated players, but it was a strong year for lead actors of which he was the weakest as he was in my opinion every time he was nominated. It wasn't until Nightmare Alley that I found him to be one of the year's five best actors even though few would agree with me on that.
R.I.P. Jean-Louis Trintignant
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Big Magilla
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Re: R.I.P. Jean-Louis Trintignant
I certainly think that Jean-Louis Trintignant should've gotten at least a nomination for Amour. I never quite understood why he didn't factor into any conversation at all. Even the groups that gave Best Picture and Actress to Amour didn't single him out as a runner up. This isn't the first time it happened. A similar fate befell him for A Man and a Woman (which I've still never still).
That being said, I don't understand why the erring party is Bradley Cooper or Silver Linings Playbook. Both Cooper and his movie were great. I'll never understand the animosity.
But not to derail the appreciation of a historic talent. R.I.P.
That being said, I don't understand why the erring party is Bradley Cooper or Silver Linings Playbook. Both Cooper and his movie were great. I'll never understand the animosity.
But not to derail the appreciation of a historic talent. R.I.P.
"How's the despair?"
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Big Magilla
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Re: R.I.P. Jean-Louis Trintignant
He should have been nominated and he should have won for Amour. It's kind of disgraceful that he wasn't. The film was nominated for Best Picture, Actress, Director, and Screenplay, and won for Best Foreign Language Film so it's not like the Academy membership had no idea who he was. I guess it was more important to them to nominate Bradley Cooper for the forgettable Silver Linings Playbookand give Daniel Day-Lewis a third Best Actor Oscar for Lincoln.
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Mister Tee
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Re: R.I.P. Jean-Louis Trintignant
Such a luminary it hardly seems necessary to elaborate. He was world-famous before I'd even got to high school, and continued to rack up stellar credits year after year, even well into this new millennium. That the Oscars never cited him is mere demonstration of how cavalier their treatment of non-English-speaking accord has always been -- as Url has pointed out, they nominate foreigners when there aren't enough English-speaking candidates, which, over our lifetimes, has always meant more actresses than actors.
It may also have something to do with Trintignant's affinity for cold characters -- in Z, The Conformist, much later Red, his creations were often swimming in bitterness and recessiveness. Even late in life, in Amour, he was fiercely unsentimental about dealing with his situation
Anyway, a legend -- and even those don't live forever. But we can be appreciative that he gave us so much over so long a time.
It may also have something to do with Trintignant's affinity for cold characters -- in Z, The Conformist, much later Red, his creations were often swimming in bitterness and recessiveness. Even late in life, in Amour, he was fiercely unsentimental about dealing with his situation
Anyway, a legend -- and even those don't live forever. But we can be appreciative that he gave us so much over so long a time.
R.I.P. Jean-Louis Trintignant
Great actor who should also have been nominated for an Oscar alongside his co-star Emmanuelle Riva in Amour (2012).
Jean-Louis Trintignant, star of A Man and a Woman and Amour, dies aged 91
The veteran of the French new wave starred in a series of auteur-driven films, before appearing in Michael Haneke’s Amour
Andrew Pulver
@Andrew_Pulver
Fri 17 Jun 2022 11.48 EDT
Jean-Louis Trintignant, the French actor closely associated with the European new waves of the 1960s and 70s, has died aged 91. His wife, Mariane Hoepfner Trintignant, announced the news to AFP.
Born in 1930, Trintignant’s childhood was overshadowed by the second world war, but he picked up a passion for race-car driving from two uncles – one of whom was killed on the track in 1933. Trintigant made his name as an actor with a role in Roger Vadim’s Brigitte Bardot vehicle And God Created Woman in 1956, but was then sent to Algeria as a conscript during the war of independence.
On his return to France Trintigant channelled his love for racing into the lead role of Claude Lelouch’s 1966 international hit A Man and a Woman, playing a widower who falls in love with Anouk Aimée. Renowned for its theme music (by Francis Lai), A Man and a Woman was a breakthrough success for French cinema in the US. Trintigant and Aimée would appear in two follow-ups: A Man and a Woman: 20 Years Later (1986) and The Best Years of a Life (2019).
He would go on to work with a string of the major directors of the era. With Claude Chabrol in the Highsmithian drama Les Biches (1968), co-starring Stéphane Audran, to whom Trintigant had been married in the mid-1950s. He played a magistrate investigating an assassination in Costa-Gavras’s Oscar-winning Z (1969), and starred in similarly political material with Bernardo Bertolucci’s anti-fascist drama The Conformist (1970). He also starred in Éric Rohmer’s discussional romance My Night at Maud’s (1969).
Trintignant confined his activities almost exclusively to European cinema, but he did play a spy in Under Fire in 1983, the Roger Spottiswoode-directed political thriller set during the Sandinista rebellion in Nicaragua. He would also go on to star in the final films of two major European auteurs, playing an estate agent suspected of murder in François Truffaut’s Finally, Sunday! (1983), and a retired judge in Krzysztof Kieślowski’s Three Colours: Red (1994), with Irene Jacob.
Having made few films in the late 90s and 2000s, Trintigant had a major success with Michael Haneke’s Palme d’Or-winning drama Amour in 2012, opposite Emmanuelle Riva, as an elderly married couple trying to cope alone after the latter has a stroke. The film won a string of major awards, with Trintigant winning best actor at the Césars. Trintignant then appeared in Haneke’s next film, Happy End, in 2017.
Trintignant was survived by his wife Marianne Hoepfner, who he married in 2000. He had two previous marriages: Audran between 1954 and 1956 and to film-maker Nadine Marquand from 1960 to 1976. He had three children, including Marie Trintignant, who was killed in 2003 by her boyfriend Bertrand Cantat.
Jean-Louis Trintignant, star of A Man and a Woman and Amour, dies aged 91
The veteran of the French new wave starred in a series of auteur-driven films, before appearing in Michael Haneke’s Amour
Andrew Pulver
@Andrew_Pulver
Fri 17 Jun 2022 11.48 EDT
Jean-Louis Trintignant, the French actor closely associated with the European new waves of the 1960s and 70s, has died aged 91. His wife, Mariane Hoepfner Trintignant, announced the news to AFP.
Born in 1930, Trintignant’s childhood was overshadowed by the second world war, but he picked up a passion for race-car driving from two uncles – one of whom was killed on the track in 1933. Trintigant made his name as an actor with a role in Roger Vadim’s Brigitte Bardot vehicle And God Created Woman in 1956, but was then sent to Algeria as a conscript during the war of independence.
On his return to France Trintigant channelled his love for racing into the lead role of Claude Lelouch’s 1966 international hit A Man and a Woman, playing a widower who falls in love with Anouk Aimée. Renowned for its theme music (by Francis Lai), A Man and a Woman was a breakthrough success for French cinema in the US. Trintigant and Aimée would appear in two follow-ups: A Man and a Woman: 20 Years Later (1986) and The Best Years of a Life (2019).
He would go on to work with a string of the major directors of the era. With Claude Chabrol in the Highsmithian drama Les Biches (1968), co-starring Stéphane Audran, to whom Trintigant had been married in the mid-1950s. He played a magistrate investigating an assassination in Costa-Gavras’s Oscar-winning Z (1969), and starred in similarly political material with Bernardo Bertolucci’s anti-fascist drama The Conformist (1970). He also starred in Éric Rohmer’s discussional romance My Night at Maud’s (1969).
Trintignant confined his activities almost exclusively to European cinema, but he did play a spy in Under Fire in 1983, the Roger Spottiswoode-directed political thriller set during the Sandinista rebellion in Nicaragua. He would also go on to star in the final films of two major European auteurs, playing an estate agent suspected of murder in François Truffaut’s Finally, Sunday! (1983), and a retired judge in Krzysztof Kieślowski’s Three Colours: Red (1994), with Irene Jacob.
Having made few films in the late 90s and 2000s, Trintigant had a major success with Michael Haneke’s Palme d’Or-winning drama Amour in 2012, opposite Emmanuelle Riva, as an elderly married couple trying to cope alone after the latter has a stroke. The film won a string of major awards, with Trintigant winning best actor at the Césars. Trintignant then appeared in Haneke’s next film, Happy End, in 2017.
Trintignant was survived by his wife Marianne Hoepfner, who he married in 2000. He had two previous marriages: Audran between 1954 and 1956 and to film-maker Nadine Marquand from 1960 to 1976. He had three children, including Marie Trintignant, who was killed in 2003 by her boyfriend Bertrand Cantat.