The international female heroesthe Best man`s images in a world cinema
Michael Trofimenkov - in a gift to readers
Hamfri Bogart in “ to Have and not to have “ (To Have and Have Not, 1945) Hovarda Hawkes
“ the Loser “ Bogart, only in forty years the proved star genius, at all did not play a free screen version of the novel of Ernest Hemingway love of the disappointed adventurer Herri Morgan involved in intrigues of the French Resistance, to young Mari. He simply loved on the screen: on shootings the novel beaten the life, the drinking actor and the partner - debutants, girls from a good Jewish family of Loren Bekoll has begun. Other such film impregnated with happiness of love, in the world does not exist. When Mari speaks “ if I is necessary for you, you only whistle “ it is Bekoll tells Bogartu. When Herri looks at it, these are eyes of Bogarta shine love to Bekoll. And then they lived together, not for long, but is happy: Bekoll will bury Bogarta after 12 years of the unique marriage concluded not in heavens, and on the screen.
Jean Mare in “ Orfee “ (Orphee, 1950) Jean Cocteau
Jean Mare has not casually played the bewitched prince in “ the Beauty and a monster “ (1948): on the screen it was similar to a young lion. Powerful scattering of shoulders, a large moulding a head framed with a mane of hair. The other-wordly hero. Already then, in 1950 - 60 - h years, commercial cinema rastirazhiruet it in role of the knight or the musketeer. But a star it became, having played the modernised version of Tristana and Isoices, “ Eternal returning “ (1943) Jeans Delannua. And the best role has executed in “ Orfee “ so modernised interpretation of a myth about the poet who has gone down in a hell. Orfej - Mare accepted by radio mysterious messages (“ the Bird sings fingers “) Passed through a mirror and deduced from a hell of Evridiku. In life the favourite of spectators loved only the instructor Jean Cocteau. And on the screen it was loved by only fine Death (Maria Kazares) with the eyes drawn on centuries.
Frenk Sinatra in “ they Also have run “ (Some Came Runnung, 1958) Vincent Minelli
the Most successful American, a gold voice of States, Sinatra persistently played cinema of not understood losers. In a melodrama of Minelli it has reported for all laconic heroes of all “ the lost generations “ the XX-th centuries which wanted though decent girls were afraid, but they chose invariably companions so lost, as well as they. In a film without a uniform close up Sinatra has played demobilised Dejva Hirsha, with disgust coming back on “ the small native land “ with the novel manuscript in a suitcase and the idle girl under the arm. Its angular, cruel person draws not only female sights, but also bullets: and only the useless little girl (Shirli Maklejn) will cover it with itself, having tested, dying, love which he would like, but could not present to it in any way.
Lino Ventura and Alain Delon in “ Adventurers “ (Les Aventuriers, 1967) Robera Enriko
Lino Ventura which have fascinated directors by the mighty invoice of the former fighter and deceptive coolness, never played films “ a raincoat and a sword “. Nervous and gusty Alain Delon almost did not play. But they so opposite on the temperaments, “ water and plamen “ in a screen version of the novel of Jose Giovanni about selectors of the sunk plane with gold have made ideal pair of modern musketeers without fear and reproach. Retired racer Rolan (Ventura) also I Attract (Delon), the pilot who on a bet has flown by under the Triumphal arch, of course, could not do without the third musketeer. To them became the sculptor - (John Shimkus`s) avant-gardist Letitsija who was loved by both of them, and she loved both, could not choose any and, and without having chosen, has fallen from a gangster bullet. And a unique consolation for dying after battle with the gangsters, played that is amusing, in forte Bojard, I Attract, there were words of Rolana which have assured the friend that Letitsija loved it. The sixtieth, of course, a romantic epoch, but not to the same degree. Nevertheless mushketersky pathos “ Adventurers “ strangely enough, it is impregnable for sneers.
Peter About ` Tul in “ the Juggler “ (The Stunt Man, 1980) Richard Rush
Director Ilaj Cross-country (About ` Tul), removing bloody burlesk about the First World War, whether the charlatan, whether the magician, whether the genius, whether the madman, has jumped out on the screen, as the devil of a box. Its one boyish smile on covered scars of experience the person was enough that of whom it just angrily joked, went to fire and in water. It danced an Irish jig on a wing “ whatnots “ as drunk god, and as god, has been doomed to loneliness. Enamoured each other (Barbara Hershi) and to casual stuntman Cameron seemed to actress Nina that it manipulates them, but it only suited their happiness which was not fated to him.
Oleg Yankovsky in “ Flights waking or sleeping “ (1982) Romana Balajana
(Yankovsky) impose to Useless Sergey Makarovu too heavy for it a burden of a symbol stuffy bezvremenja which muddy melancholy drives it goodness knows where, forces to act up, going for a drive on imagined skis, to play football with boys and not to be lost nearly in desperate final attempt to depart where far away from this world. All it so, but Oleg Yankovsky`s charm is too great to consider its hero simply “ the superfluous person “. Anyway, it at all superfluous for women who are doomed to love such sad idlers who can be regretted as required, and as required in a fit of temper to call the clown.
Kristof Lamber in “ to the Underground “ (Subway, 1985) Besson`s Hatch
1980 - h the Hatch Besson has found the Ideal lover there where romanticism, apparently, and did not spend the night: in the Parisian underground. The tramp in a dress coat with a shock of white hair, the thief occasionally and the musician in a shower, Fred (Lamber) opened to missing rich woman Elen (Izabel Adzhani) its back streets occupied by improbable human fauna. In the belly of Paris it as if has fallen down from the Moon, sang and played the fool even struck by a bullet. In it there was Tarzan`s feeling in city jungle the same as the person boyish charm - a monkey, played by it two years prior to “ Undergrounds “ in jungle of the presents. It is a pity that the next year on it have fastened the armour of the Mountaineer which has nailed it to the earth on which it, appear, has run for a minute.
Klint Eastwood in “ the White hunter, black heart “ (White Hunter Black Heart, 1990) Klinta Eastwood
Klint Eastwood whoever he played, - the man for all times. In “ the White hunter “ he has played as though the great director John Hjustona removing legendary “ The African queen “ (1950), covered under a pseudonym John Wilson. Elegantly secular hooligan, the genius removing the masterpieces only because of it is demanded by the producers, fighting for justice only because at present it so would like. It is indifferent to women surrounding it. What for to it of the woman if John`s dream - to kill an elephant.
Rokko Siffredi in “ the Romance “ (Romance, 1999) Katrin Brejja
When feminist Brejja has invited to a role Paolo, the Latin lover of the heroine, “ a stallion “ Rokko Siffredi, a star of hundreds pornofilms, it has caused scandal. Meanwhile Siffredi - the ideal man. It combines tireless sexual power with sincere love to all women on the earth. It is felt in most rigid of the pornofilms put to it. Simply it has come to the present of cinema in a roundabout way. Not without reason he has composed the pseudonym in honour of Alain Delon, played modern prince Myshkin in “ rokko and his brothers “ (1960) Lukino Viscontis, and Jean - Polja Belmondo, the prankish - gangster Siffredi from “ Borsalino “ (1970) Jacques Dere.