Wortkarger Günstling der schönen Oberflächen

Alain Delon has read a number of learned lessons over time. Manches war lediglich moralisch verwerflich, anders zijn Kavaliersdelikte, Jugendsünden. The ‘affaire Marković’ became interesting in 1968, when he became Frans Justiz, by the bodyguard and the many inkcriminal photos of the president of Claude Pompidou.

If you have one of the most diverse reasons, there is no penalty component, which the young Alain Delon looks at. Cheekbones as if it were gleamed, steel blue eyes, the environment with a conspicuous taxiing cannten, an aura, which in the first place a machen schien becomes.

Beauty is not undeniable, but it is one of the most popular things, hat Alain Delon, who earned 25 and made a half of it the beautiful lovers on the page of his partner Romy Schneider, the most beautiful pair of European cinema (an unannounced title to this day), in his first major role. For the figures of Tom Ripley’s war the best choice is conceivable – perhaps for the profilers -, we will be the property of an undetermined owner with that physical war in the ground of a war. Alain Delon stood out from the crowd, his charisma sautéed the sauerstoff from every space.

© imago/United Archives

Trotzdem hat sich Delon in „Nur die Sonne war Zeuge“ (1960) Patricia Highsmiths Romanfigur zu eigen gemacht – wenn sich nicht ganz in dem Sinne, wie sich die Autorin das vorgestellt hatte; Highsmith was proud of his behavior. With the moral Ambivalenz, which Delon schon in jungen Jahren umgab, der magnetic Attraktivität, seinem unverhohlenen Narzissmus (“I could be loved, so ich mich selbst liebe”, lautet ein berühmter Satz von ihm), die Figur Tom Ripley went into his Star Alain Delon on – and turnaround.

Vernarrt in den own Körper

This Narrative in one’s own body (Looking into the mirror to see his career) was encouraged by his directors. When Delon in “Nur die Sonne war Zeuge” sees the shirt and shows the hint of the motorcycle boots, Marie Laforêt is no longer in the role of Marge riding the Atem. The image landed a youth trip, which looked like a few years on the poster of James Dean. René Clément war four years with “Wie Raubkatzen” as director and said an obsessed Faible for those parents, who are about to laugh.

Or Luchino Visconti, in the schmächtige Körper more as now a capable star erkannte and darauf file, Delon who Hauptrolle in “Rocco und seine Brüder” zu geben – sonst müsse leader another Director Direction führen. Rocco and Tom are very gensätzliche characters: the soziopathic Mann ohne Eigenschaften and der leadschaftliche clumsyof their own personal experiences. Both films from 1960 in the Kinos, without a doubt a year away for the next Dekade – and Delon’s Schauspielkarriere.

In 1962 Delon tested once more, when he took on the personality of the inexperienced Einzelgängers, with an aura of Arrogance at work, with the European car cinema back. In Michelangelo Antonioni’s “L’eclisse” (with the unsäglichen Deutschschen Title “Liebe 1962”) a Hotshot was told to the Mailänder Börse, who with his raubtierhaften Charme embraced the young Monica Vitti.

There is a mendacious affair with the accusations of an anonymous street gangster, who sets out a mouth-finsternis – and those sinful images are of Delon’s Tête-à-Tête with European art. Antonioni’s masterpiece of emotional alienation flopped. In 1964 Delon made his own production company Adel, with in 1970 another gangster film “Borsalino” and his friends Jean-Paul Belmond was realized.

© dpa/Georg Göbel

Born in 1935, Delon lives in civilian clothes, but with difficult relationships. After the separation of his parents, little Alain and the Alter of four years lived with a care family. There is a problem, the regularity of the debt, lands abroad and violently with 17 of the French navy, which in the devastating Indochina lands. Military service and military service began in Delon’s early years: there is a world that is busy rolling out desert trips and landing in the army.

© imago stock&people

After his return to civil life, he is directed to the theater. When a film festival in Cannes took place in 1957, a scout of Hollywood magnates David O. Selznick was discovered, who went to the movies. Selznick stumbles upon the new version of an online presentation, under the condition, and Delon teaches him English. If your Hollywood debut takes so long, it will happen in the Ruhm area in Europe – also in the US – in an unknown world.

Turbulent Beziehung with Romy Schneider

For Delon, the fascination of the publications with angel haften Schönheit is a segment and a fluch. „I am a star“, hater einmal in eeninem Interview zu Beginn seiner Karriere said, „I am a Schauspieler. If it takes years, then life is gone, it is a young youth with a beautiful mind.’ gottert . Kumpel “Bébel” Belmondo war under the neat youth of nebenan, Delon aber blieb schweigsam unnahbar, was de Ikonisierung Seiner Person nur noch verstärkte.

It is also a war against the Medien-Coup, when Alain Delon and Romy Schneider meet once more in front of their room in 1968. “Der Swimmingpool” by Jacques Deray has no idea of ​​the thinking in Delons Portfolio, but can watch the schauspieler and the perfect image of the deckung. The amorous love story of both main characters experiences the krude, the hot erotic dramas, which quickly play a title-bone Pool and the French Riviera. Schneider in a bikini, one of Delon’s best, Intrigen, a casual voyeurism: “Der Swimmingpool” is Starkino par excellence.

If the way was clear, Delon’s intuition was his own image, which was no longer possible. The tragic road movie „The Girl on a Motorcycle“ (deutscher Titel „Nackt unter Leder“) with Marianne Faithfull as partner is not one of the interesting events in that ultimately full filmography. If the greater Glücksfall sees the desire with the stylists Jean-Pierre Melville erwiesen, der Delon in „Le Samouraï“ (1967) as one of the best rolling roles. The German title “The original angel” subsumierts, ausnahmsweise genial, as well as the öffentliche Person seines Hauptdarstellers. Delon says it is a dream to be able to finance a dialogue at all.

In the role of Killers in the black suit, with Trenchcoat and Fedora, Delon makes it as comfortable as he plays in his favorite film. Das Raubtier has a cinematic Verwandlung vollzogen. One of the most important Ruhepulsen is that Killer Jef has gone through the film, while he is one of the Hals men – förlgest van zijn Auftraggebern and der Polizei – much more. In the figures that encounter Weltabgewandtheit and Narzissmus, Delon dies in the eyes of the Schutz-dienst, perfect for Tragen.

If you play the best role, this is only one more time for Augen, the Arbeiten von Delon nach seinem Flop with Antonioni puts more of Stil as the Substanz lebten; das galt in gewisser Weise schon für seinen zweiten Visconti-Film, das pompöse Historiendrama “Der Leopard” (1963). There is an idea of ​​the Oberfläche – one of the own – minds, the power of a schauspieler, when there is a war. A star eben.

The last years of war have still become a Delon, a problem that lasts longer, is that the tension of a third child is a vermächtnis of the fathers. Dass Delon in the time that became more conservative war, there died a war for a war (was first the beginning of the years a Hausdurchsuchung beschert hatte), war is a war.

Sympathy for the right-wing national Front National began in the 2010s for a while with his acquaintance’s colleagues Jean-Marie Le Pen. It’s time for a human being larger than lifehis life is far from being capable of becoming an expert in the field of research. Sunday is Alain Delon, who has prepared himself for his great war in the infantile stages, in the 88 years since he died.