Canadian Film Digest (Mar 1973)

oe —_ Page 12 MARCH 1973 The Canadian Film Digest His ambition is to play Hamlet and the Olympia “My ambition,” says French actor JeanPierre Cassel, “is to play Hamlet and the Olympia.” And the tall, lean, and definitely very smooth Mr. Cassel seems suited for both rts. If you list the directors who have requested his services, you'll get an idea of his status: ’ Jean Renoir, Philippe de Broca, Luis Bunuel, Michael Cacoyannis. And most recently British director Lionel Jefferies, for a story about a boy named Baxter and his search for love. The title of the film is Baxter, and in it Cassel plays a French cooking star, ala Galloping Gourmet. He’s tall, smooth, and French. “My agent in London called me and asked me to read the script. I did and told him I was available. It wasn’t too difficult a part to play — it’s very near my own character: a man who loves children, is very open and loving. “I came to London, got off the plane, and went straight into the most difficult scene, the one at the end that is so emotional. Right after I met everyone, the cast and crew, here I was being very deep with the young boy. “There was no rehearsal. But it wasn’t improvised either. It’s a scene where you have to really concentrate, which I did. They only did two takes, and used the first.’’ Cassel plays a man who is really a foil to the ~ harsh love the boy finds at home and school. Britt Eckland plays Cassel’s mistress: “Britt was happy to get the part because it was her first really good one. And the boy, Scott Jacoby, is really marvellous.”’ It’s Cassel’s third film in English, including Those Magnificent Men in their Flying Machines and Oh, What a Lovely War. In the others he played the typical French lover type, but Baxter was better because not only was his part deeper, the atmosphere was so good. ‘‘The atmosphere is so important, how everyone gets along. And Jefferies liked me because he adores Frenchmen. My accent is so funny and everything. “Many times in the film I made mistakes in my English and he left them in.” But it’s really in France where Cassel’s full talents have been called upon. He’s played in everything from Barefoot in the Park to Mercutio on stage, and worked for a top list of directors. ‘‘The director is the most important thing to me. Then the script.”’ There was never any question that this son of a Paris doctor would follow in his father’s footsteps. “I hated school. I was bored and lazy. I thought to be an actor would be fun and 4 has te none ae z een wo z 7 T > & Zz & Zz * 4 > i. r) $ 2) € 2 x ' < . & a Y e Ke: -) NE NG ce tS = ais is » es ve tan a 4 > Wee sia e 7 nh easy. When I got into drama school I found out that was not so, but it is still the only thing I ever considered doing.”’ Drama school took up two years, and then two years in the Military. Then back to drama school and then he returned to the army to finish his conscription. When he got out he got a part in a play by replacing Jean-Paul Belmondo when the latter went into the army. Lean years followed, and during this. period he made his first film role, again with Belmondo. They played students in a comedy. Finally he was appearing in.a play, Philippe de ~ Broca called him for a film role in The Love Game, and his career was on its way. De Broca was the first of many famous directors to use him. “De Broca is a very upset, agitated, nervous man. He is always overcome by the problems of life, love and death. Renoir is so composed. I did The Elusive Corporal for him. And Bunuel . “Every director is different. I played in Bunuel’s Discreet Charm of the Bourgeoisie. We were simple characters; we sat down and ate, talked, and so on. But what appeared on’ the screen was entirely different. A talented director uses actors as instruments. The only thing is that I want to know that I will be used in this way. “I did Mercutio for Cacoyannis on stage. He had asked Genevieve Bujold to play Juliet and she refused. I told her she must work with him, he’s so good. She eventually made The Trojan Women. “T wouldn’t work for Godard. He’s a great director but he doesn’t do much for actors. He has done some very important things for the cinema. I’d like to work with John Boorman. He’s so different than the directors I’ve worked for. ete te You know, ever since | got to fooling around with these funny glass bubbles with curly little wires inside them, it’s come over me that there’s little voices down in there just waiting to be heard. Just crying out! I got this scheme, see, where | put them on this wheel, going around maybe 78 revolutions “T love movies, I really enjoy them. I enjoy people. When you're with good people doing something together it’s very enjoyable. “There is a danger in typecasting. I like to do my job in this way: with different possibilities. The Lady's Not for Burning and Black Comedy, Mercutio and Butley, which I may be playing in September. “After the movie The Love Game I got twenty parts all the same. I’m sure that if Baxter is a success I will get twenty just like my part in that. But you have to choose so carefully. “My career in English would be good if it were bigger, but it could be very dangerous. I like France and I want to live there. I work very well there and, I don’t know, if I can do something else in English, well...” Home is a house on Montatre in the heart of Paris. His lovely petite wife is with him on this promotional tour, which he’s enjoying tremendously. It’s his first, and it’s four weeks long. “First we went to London for a week, a very busy time, then to New York. New York is so exciting. The straight shows are the same as Paris, but, the ieee let are so different, dif petimet tee ea? | ae D veut. 4 + La ferent forms and styles. I don’t know if I could live there.” And after Toronto and Montreal, it’s a few days in the Miami sun. Then to Los Angeles, And back home, where he’s working on his singing career. “I started singing about two years ago. I made my stage debut. I do French and American style music. It’s a one man show and a friend writes my songs for me. I have an orchestra and a partner sometimes. I want to do many shows. And play the Olympia.” The Olympia is Paris’ famous concert hall, the Mecca of variety performers. Right now though, it’s back to the tour and then on to France. Future plans are vague. ‘I haven’t been on the stage for three years. I may play Butley in September. We had to postpone it because you can’t open a show past February in Paris. Especially with elections and everything. “T know I'll find something. As an actor I know I want to act, not be a character. I don’t want to be James Bond.” He is an actor in Baxter, and somehow you know he.will continue to be one, even at the Olympia. Cassel in a musical moment from Baxter Hi, there! !m Iom Edison, the friendly but eccentric inventor. Id like to talk to you for a few minutes about the magical qualities of SOUND. per flat like, that’s’ minute, and this littlke bamboo ‘needle rubs against them and WHOOPEE, we got noises! If the goldarn things would just stop burning out on me! But just stick with me. After all, who brought you electric light on those little wax cylinders? ‘ [f old Tom dropped in on Quinn Labs, he'd find we have one floor for sound and three floors for light and motion. That way, there’s no confusion. Absolutely no confusion. QUINN LABS 380 Adelaide Street West’ Toronto 2/ 368-301 1