#francine racette

[lisamarie-vee]

[issacharmastersdp18]

There’s no one and nothing more beautiful than this man.

He’s gorgeous. He’s funny. He’s smart. He loves his family. He loves his country. And, by all accounts, he is the sweetest man on the planet.

He is the center of the universe.

Any attempt to change my mind and convince me I’m wrong would be a waste of everyone’s time.

[theoscarsproject]

Au Revoir les Enfants (1987). A French boarding school run by priests seems to be a haven from World War II until a new student arrives. Occupying the next bed in the dormitory to the top student in his class, the two young boys begin to form a bond.

Devastating on so many levels. This just works, somehow avoiding scenes of overt sentimentality or violence, let leaving you feeling the aching reality of both. Incredible performances from the young cast, lush cinematography, and a script that somehow manages to feel both sprawling and entirely focused. Pretty close to perfect, really. 9/10.

[genevieveetguy]

Lumière, Jeanne Moreau (1976)

[mostremote]

'In 2015, just before the release of the fourth Hunger Games film, I sat down in a suitably craggy London hotel with Donald Sutherland, who starred as the tyrannical President Snow in the fantasy young-adult franchise. [...]

By turns thoughtful and gregarious, Sutherland was a dream interviewee. But because every answer was a story – related in that leathery Canadian baritone – the conversation flew, and just as he was getting on to the subject of his relationship with his son, a PR leapt out of the wardrobe and declared our time was up.

A few days later, an email dropped into my inbox from someone calling themselves “Frank Racette”. It was Sutherland. (His widow is the Canadian actress Francine Racette.) The loose end in our conversation had clearly been nagging at him, so he’d written 700 words on the subject of Forsaken and fatherhood – recalling his time with Fellini, quoting Larkin, and recalling classic Hollywood gossip in the process. At the end, he’d attached a photograph of him and Kiefer together on set.

At the time, I was stunned. Nine years later, reading back his words, I find myself inexpressibly moved. Sutherland wrote as he talked as he acted – which is to say with a controlled yet sensual magnetism, and also an intuitive feel for the strange join-the-dots nature of human experience. You can’t walk away from a good Sutherland performance (or, as it turns out, email) without feeling that reality itself has been given a rattle, and its parts have fallen into some revealing new order – perhaps a comforting one, but more than likely not. [...]

In that hotel in 2015, I remember asking him about the possible snowballing effect of having played so many roles – whether from, say, President Snow he could disentangle strands of John Klute, John Baxter, Hawkeye Pierce, Matthew Bennell, Calvin Jarrett.

On the contrary, he said, it was nothing like that at all – and then the conversation veered elsewhere, and the thought was left incomplete.

In his email, he completed it.

“With respect to experience after all these years,” he wrote, “it’s akin to the affairs of Casanova. Every time he fell in love, and he fell in love a lot, it was the first time and the last time. He’s never been in love before.

“Time stopped. And then it started again. And then, after many liaisons, it was gone.”'

Robbie Collin, 'Donald Sutherland was a dream to interview – then he emailed me out of the blue', The Telegraph, 20 June 2024, https://www.telegraph.co.uk/films/2024/06/20/donald-sutherland-death-tribute/

[larimar]

vanityfair

Donald Sutherland, whose ability to both charm and unsettle, both reassure and repulse, was amply displayed in scores of film roles as diverse as a laid-back battlefield surgeon in “M*A*S*H,” a ruthless Nazi spy in “Eye of the Needle,” a soulful father in “Ordinary People” and a strutting fascist in “1900,” died on Thursday in Miami. He was 88.

Donald McNichol Sutherland was born on July 17, 1935, in Saint John, a coastal town in New Brunswick. One of three children of Frederick McLae Sutherland, a salesman, and Dorothy (McNichol) Sutherland, a math teacher, Donald lived his formative years in Bridgewater, Nova Scotia.

With his long face, droopy eyes, protruding ears and wolfish smile, the 6-foot-4 Mr. Sutherland was never anyone’s idea of a movie heartthrob. He often recalled that while growing up in eastern Canada, he once asked his mother if he was good-looking, only to be told, “No, but your face has a lot of character.” He recounted how he was once rejected for a film role by a producer who said: “This part calls for a guy-next-door type. You don’t look like you’ve lived next door to anyone.”

Yet across six decades, starting in the early 1960s, he appeared in nearly 200 films and television shows — some years he was in as many as half a dozen movies. “Klute,” “Six Degrees of Separation” and a 1978 remake of “The Invasion of the Body Snatchers” were just a few of his other showcases.

A stalwart actor, Sutherland won an Emmy and a Golden Globe for his performance in the television movie Citizen X, and another Globe for Path to War. His extensive television and film credits include M*A*S*H, Six Degrees of Separation, The Undoing, Trust, Dirty Sexy Money, and The Pillars of the Earth, among many others. In 2017, he received an Academy Honorary Award.

The patriarch of the Sutherland family, Donald is survived by his Emmy-winning son, actor Kiefer Sutherland, as well as veteran CAA Media Finance exec Roeg Sutherland. Sutherland is also survived by his wife Francine Racette; sons Rossif and Angus; daughter Rachel; and four grandchildren. Per Deadline, a private celebration of life will be held by the family.

[byneddiedingo]

Raphael Fejtö and Gaspard Manesse in Au Revoir les Enfants (Louis Malle, 1987)

Cast: Gaspard Manesse, Raphael Fejtö, Francine Racette, Stanislas Carré de Malberg, Philippe Morier-Genoud, François Berléand, François Négret, Peter Fitz, Pascal Rivet, Benoît Henriet, Richard Leboeuf. Screenplay: Louis Malle. Cinematography: Renato Berta. Production design: Willy Holt. Film editing: Emmanuelle Castro.  Père Jacques was honored at Yad Vashem in 1985 as one of the "Righteous Among the Nations" for his efforts to hide Jewish boys from the Nazis by enrolling them under pseudonyms at the Petit-Collège d'Avon, the school of which he was headmaster. Ordinarily, his heroism would make him the central figure of a film, the way Oskar Schindler became the subject of Schindler's List (Steven Spielberg, 1993). But Louis Malle was a pupil at Père Jacques's school in 1944 when the Gestapo arrested the priest and the boys he was hiding, so he tells the story from the point of view of Julien Quentin (Gaspard Manesse), a student at Malle's fictionalized version of the school. Père Jacques has been renamed Père Jean (Philippe Morier-Genoud) and moved to the periphery of the film's action, although his work in saving the boys remains, and he has one great moment at the heart of the film when, before an assembly that include the well-to-do parents of his students, he preaches a sermon excoriating the rich for their complacency and indifference. One man walks out indignantly. The film centers on Julien's sometimes rocky friendship with Jean Bonnet (Raphael Fejtö), whose real name is Kippelstein, as Julien discovers, snooping in the boy's locker. Julien makes a highly effective protagonist for Malle, who draws from his own experiences -- his pre-adolescent naïveté, his occasional sneakiness, perhaps even his bed-wetting -- to introduce a note of actuality that undercuts the sentimentality into which a story that primarily focused on the priest's heroism could descend. It enables us to see Bonnet, as he adapts to being the new boy, the outsider in more ways than one, at the school less as a victim than as a human being. Malle's steadfast insistence on portraying complex human beings gives the film a strength that a more simplistic treatment of the events would lack. He even humanizes film's potential villain, the kitchen boy Joseph (François Négret), who, after he is fired for stealing from the larder and selling the goods on the black market, turns in Père Jean and the Jewish boys he is hiding. Lame and therefore limited in his survival opportunities, Joseph sees aiding the Nazis as his only out. "C'est la guerre," he tells Julien when they encounter each other, "There's a war going on, kid!" Julien, who has been aiding Joseph by passing along some of the food his mother sends him, recognizes his own complicity. 

[oldcountrybearloveselle]

ELLE No.1454 - 29 November 1971 - Francine Racette - Photographed by Tito Barberis

[moviereviews101web]

The Disppearance (1977) Movie Review

The Disappearance – Movie Review Director: Stuart Cooper Writer: Paul Mayersberg (Screenplay) Writer: Derek Marlowe (Novel) Cast Donald Sutherland (Don’t Look Now) Francine Racette (Au Revoir les Enfants) David Hemmings (Equilibrium) John Hurt (V for Vendetta) David Warner (Mary Poppins Returns) Christopher Plummer (Knives Out) Plot: Thriller about a contract killer whose wife has…

[eccandcorg]

Who is Francine Racette? All About the Late Actor Donald Sutherland’s Wife

[lisamarie-vee]

[lunesalsol]

È um retrato de amizade entre dois jovens que habitam o mesmo colégio interno, afecto a uma comunidade cristã, durante a segunda guerra mundial. O colégio acolhia também um pequeno grupo de alunos, e de outros elementos da escola, de origem judaica. Tudo estava camuflado, até que o despedimento do funcionário que estabelecia relações entre os alunos e o mercado negro, levou-o a retaliar. 

[ceteradesunt]

Four Flies on Grey Velvet, 4 mosche di velluto grigio (1971) dir. Dario Argento

[max-e-doodle]

Donald Sutherland and wife of nearly 50 years, Francine Racette.

[motionpicturelover]

"The Disappearance" (1977) - Stuart Cooper

I went into this not knowing anything about it except that it starred Donald Sutherland (which was enough for me to want to watch it). I have to say I was very pleasantly surprised to find it's a tight thriller starring several of my favourite actors.

Films I've watched in 2022 (66/210)

[sundaynightfilms]

Au revoir les enfants, 1987