“I surprise and fascinate myself” – L’Express

I surprise and fascinate myself – LExpress

Alain Delon is died on August 18 at the age of 88. Launched in 1957, his career as an actor and producer is marked by many films that have become cinema classics. in very different registers like Plein Soleil, Rocco and his brothers, The Leopard, The Clan of the Sicilians, Borsalino, Monsieur Klein…

In 1977, twenty years after his first fee for a small role in the film d‘Yves Allégret When women get involved”, Alain Delon met the film critic François Forestier to whom he confided: “My life is an iceberg: you only know the public part. At home, I never talk about cinema…”

READ ALSO: March 10, 1969: Alain Delon speaks to L’Express

Looking back on his early days as an actor, he added: “In my day, all young people dreamed of a producer who would stop in front of them in the street, take off his cigar and point at them: ‘You!’ It never happened. With me, it happened. I said no. I had to be pushed. And it didn’t stop. I’m the exception that proves the rule.”

Thanks to our archives, we invite you to relive this meeting between the “Delon iceberg” and L’Express.

In L’Express of January 17, 1977

The Delon Iceberg

Borniche, Delon, Deray: the cocktail was already served last year. Cop Story rested on the same holy trinity. The Gang is a hundred leagues away from it. “It’s a surprising film,” comments the producer. Who is none other than Alain Delon.

Surprising, yes. First, because the sight of a smiling and curly-haired Delon is unusual. Then, because the actor’s last three films played on a totally different register. If Mr. Klein was a success, the same cannot be said of the Gypsy and of Like a boomerangwhose only common point was their nullity. The Gangon the other hand, is a product that one would swear was made in the USA. Directed by the most American of French “directors”, Jacques Deray (six films with Delon). Direct, fast, hard-hitting. And funny.

Between his dog and his briefcase, the actor bursts out: “Cinema is a matter for professionals. When you see people who, from one day to the next, decide to become directors, it’s a disgrace! Personally, I was used to working with authors like Mr. Melville, Mr. Visconti, Mr. Clément. I am delighted to be able to say in your columns that we should ban some people from making films. Example: The Toy…”

READ ALSO: 1964 – Meeting with Alain Delon’s impresario

Delon is no longer laughing: his anger is very real. The leg of lamb may be getting cold, but the temperature is rising: “That’s the crisis in cinema. This profession is cluttered with the useless, the incapable, the incompetent, the unproductive, the imbeciles.” With a nervous gesture, his hands cut up the space in front of him. The dog is retreating.

“Two years ago you said you wanted to give up the profession…

– I thought about it. I’m always in suspense. From one day to the next, I could give up. I’m a temperamental person, a Scorpio. And I’m not made for this job.”

Surprising confession. At 41, the macho Delon, with his furrowed eyebrows and first wrinkles, remains at the top of the box office. Of the box offices, one should say: in Japan, he is better known than John Wayne, and, in Italy, he is the “seddutore francese”. From his first fee, in 1957 (in When the woman gets involved), 400,000 old francs, to his last, the figure has increased a hundredfold. From Brigitte Auber’s Moorish apartment, where, on his return from Indochina, he lived, to the luxurious floor of the rue François-Ier”, there is the difference that separates the unknown from the star. From the escapade – direction Chicago – attempted by the 14-year-old adolescent, to the international star, there is a world of difference.

Luxury and voluptuousness

Alain Delon, ex-butcher, ex-soldier, ex-waiter, ex-anonymous, briefly evokes his past. The dog, tempted by the leg of lamb, returns discreetly. Youth? “I became a man before my time”. Career? “Fifty-five films”. Career? “I would like to work with Bertrand Tavernier and Claude Sautet”. Career? “Nothing to do with…”

“My life is an iceberg. You only know the public part. But three-quarters of it is buried. So much so that, at home, I never talk about cinema. My friends are not people in cinema. My passions are not linked to cinema. Ask Mireille…” Mireille Darc, who is an actress. In cinema. If Delon is not made for this profession, at least one can think that the profession is made for him.

Alain Delon in an exclusive interview in “L’Express” in March 1969.

© / THE EXPRESS

Moreover, the actor Delon handed over to the producer Delon (since 1968, thirteen films produced or co-produced by his company, Adel Productions), who himself gave way, in turn, to various characters: owner of racehorses, buyer of De Gaulle’s manuscript, art lover (Géricault and Dürer), creator of a thalassotherapy center, shareholder of an arms and airplane factory. In all these roles, we knew him more or less well. He has just added two: philanthropic financier (he helped André Génovès, producer of Claude Chabrol, André Téchiné, Michel Audiard, temporarily in difficulty) and furniture designer.

In partnership with Jansen (the “designer” of the most expensive furniture in the world), Alain Delon designs, invents, creates. Sofas in natural peccary or champagne silk, inverted pyramid coffee tables, black lacquer sideboards, hi-fi systems with indicator lights, illuminated Plexiglas tables: luxury and voluptuousness. “I wanted them to be comfortable.” The hands, always moving, describe an imaginary armchair. Suddenly, the dog fell asleep. Detail: all the furniture bears Alain Delon’s initials. The stylized “AD” acronym is inspired by an illustrious predecessor, Albrecht Dürer. Perhaps a humorous gesture?

The valet, discreet, brings France Evening. Producer Delon lights a cigar, takes a look. “The premiere and the shows, that’s all.

– Politics?

– It’s dull. Nothing to say about it.

– But, generally, you are called a man of order…

– Fascist, let’s say the word. I’m deeply anti-communist, that’s all. As soon as you say something, you’re labeled. So, well, I’m a fascist, if you want, too bad.”

Having narrowly avoided, it has been said, the Best Actor award at Cannes, is Alain Delon trying to pull out all the stops? The Gang comes out this week, Armageddonwhich has just finished filming, will be released in the spring. Director: Alain Jessua. “I made this film to work with Jean Yanne. And I was not disappointed.” Next will come The Man in a Hurryafter Paul Morand, under the direction of Edouard Molinaro.

“I surprise and fascinate myself. In my day, all young people dreamed of a producer who would stop in front of them in the street, and take off his cigar and point at them: ‘You!’ It never happened. With me, it happened. I said no. I had to be pushed. And it didn’t stop. I am the exception that proves the rule.” Strange Alain Delon: by his career – star – he is dedicated to public life; by taste, he prefers secrecy; by profession – actor – he is interested in his image; by character, he declares “not giving a damn”.

Perhaps it is in the films that we find them most faithfully, him and his double. The “William Wilson” of Extraordinary storiesthe secret lawyer of Ice Breaststhe disturbing doctor of Shock treatmentthe double Robert Klein from Losey’s film…

“I’m only happy between the word ‘engine’ and the word ‘cut’. Everything else annoys me. When I’m happy with myself, it’s fine.

– Are you okay at the moment?

– Yes.”

Alain Delon laughs. Is it the irony of fate that makes him laugh? In The Gangthe actor who serves as his stunt double is (really) called Robert Klein.

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