In my mind, this is one of the greatest performances of all time - fully committed physically, filled with passion and rage, anchored by tragic sadness and loneliness. Schneider was the inaugural winner of the César award for Best Actress and Almodóvar dedicated All About My Mother in part to her.
After seeing the film, I'm really surprised the Academy of the 70s ignored this performance for a nomination.
I have to say I love you Tyler because you actually want to talk about movies, lol. Everyone else here wants to reduce me to a mere list maker - Best Costumes By A Male Under 5'7" in 1935 - grrrrrr.
Anyway, it's been a while, but this is a case where the performance is way better than the film but the performance is pretty big and messy too so I could see why there was no Oscar nod - I mean they didn't nominate Schygulla all decade either etc. The film is by Zulawski who I've seen just 3 films by (I think?) one of which I kind of love in an odd way - the sort of horror film Devil (1972, just saw it last year for the first time!) and the other one I admire a lot especially in conception, Possession (1981) which sort of takes Schneider's more kinetic moments here and raises it all to off the chart levels all the time.
The problem in this movie or maybe the point rather is that love drives you mad but no one is close to conveying what she is here - in fact the guy who plays her husband is Jacques Dutronc who I've always found boring beyond belief as an actor until he played Van Gogh much later. There's a lot of close-ups of her face, and iirc close-ups of it on movie set and in cameras photographing her - Zulawski loves her and photographs her with much care and empathy and much zooms into her beautiful eyes (Zulawski was the lover of Sophie Marceau - speaking of beautiful eyes).
There's a famous scene in this film where Dutronc tells her he loves her (in a restaurant maybe?) and she explodes at him saying it doesn't matter which is truly thrilling raw nerve stuff.
There was a long conversation between Schneider and german feminist Alice Schwarzer in december of 1976, which was quite frank, and Romy was very open and real and angry.
The transcripts of said discussion were never published, but last september, french-german TV station Arte broadcast a new documentary in memory of what would have been Schneider's 80th birthday, centerering around that night, making primarily use of audio files recorded during the aforementioned conversation.
You can't stream it anymore on Arte, and I also couldn't find it on YouTube. But if you're into Schneider, you might look up on YouTube from time to time, maybe it pops up there sometime in the future.
It is called 'Ein Abend mit Romy' (An Evening with Romy)
(One of the more salacious parts of the discussion was Schneider mentioning that her mother had slept with Hitler...)
Oh honey, wasn't she in that High School Reunion movie?
Oh honey, I thought I was your all time top 10 favorite actresses?...
Willst du mein Freund sein, Liebling? Du bist die Liebe meines Lebens. Mit Angela Merkel ist extra...
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No, it's not. That film, 3 Days in Quiberon, centers on an interview Schneider had with german journalist Michael Jürgs in 1981, shortly before her death, and the time they spent together, including photographer Robert Lebeck (who shot some iconic pictures of her during that three days) and Schneider's best friend.
I haven't yet seen the movie, but I really like its score, which is beautiful.
Leo_The_Last - Thank you for your wealth of knowledge, Leo! Schneider isn't as well known in the US as she is in Europe (she certainly could have been if she'd wanted to be), so I wasn't aware of a lot her backstory.
I'm just so transfixed by her beautiful, expressive eyes.
She's a very interesting character, and a lot of it has to do with the time period she was born into and the complicated relationship between the french and the germans, which definitely shaped her as an actress and influenced the path she had chosen for herself, professionally and in her private life.
I know her work only a little, mostly in her American films in the sixties - The Cardinal (1963), The Victors (1963), The Trial (1962) - and one Italian film, Boccaccio '70 (1962). But I always thought she was a fine actress, who had such great beauty inside and out. I've wanted for years to see her in Mädchen in Uniform (1958), the remake of the 1931 film, but haven't managed it yet.
I'm sorry we lost her so early, way before her time.