Edith Scob, the ageless aura


Able to play the thrill and charm as anyone, because his smile was haughty, his sleek silhouette as modern as his hairstyle and every word uttered by it had a thickness and ambiguity unpublished, Edith Scob was these last fifteen years in all the French films of author since it was to embody a person close to the filmmaker. It was the guarantee that the fictional loved one – mother, aunt, grandmother – would appear intelligent and free whatever its initial content in the script. The filmmakers projected on Edith Scob the unconventionality and the culture, the fantasy and the humor, and they needed it. She was irreplaceable when she was offered only small roles.

It was enough for her to sit in an armchair, motionless, and we could only see her, an old lady whose story it was out of the question to simply rid herself of or threatening wife. So, oddly, while she plays a supporting role in summer time Olivier Assayas in 2008, in the Human Question Nicolas Klotz in 2007, or Holy Motors Leos Carax in 2012, we remember as if each of his appearances continued to populate the film when it is out of field.

Irreproachable. Edith Scob has just died, we hear her voice a little quivering, we dive into her eyes very blue, we see his features affirmed, and we say that she is one of the few actresses to have erased the image of this that she was a young girl, even though her recent characters could have an appearance. This fainting strangely echoes his filmography. The mythical film that projected it on big screens at 22, is precisely Eyes without face Georges Franju, in 1960, where she exposes herself during almost the entire film, her head covered with tapes except for her large, wide-eyed, terrified eyes. She plays the title role of a girl disfigured in a car accident and whose surgeon father tries, by all means including less acceptable, to operate a transplant by killing other girls likely to to be like him.

About this film that stuck to her skin, which had the advantage of sparing her the roles of ingenuous, she confided to Release in 2001, at the time of the release of the comedy of innocence Raoul Ruiz who signed his comeback: "I arrived on the set three hours before everyone to be applied the mask. From then on, I had trouble talking. I was sequestered. At the same time, I keep a magical memory of those nights transfigured by the magnificent lighting of the chief operator. Franju impressed me a lot. He was a very thoughtful artist, but with an absolutely poetic relationship to the world. It did not go through the speech, the intellectual construction, it was more spontaneous, really of the order of poetic perception. " With Franju, of which she becomes the favorite actress, she makes half a dozen films. Perhaps she was too much associated with the world of a single filmmaker, who moreover did not represent then the most pressing modernity? In the middle of the New Wave, it is hardly found elsewhere. And in the 70s, in the "soap operas" as we used to say, especially the Bloody Doll, according to Gaston Leroux.

Edith Scob, whose real name was Edith Helena Vladimirovna Scobeltzine was the daughter of an architect and a housewife who would have liked to be a journalist. His family is morally irreproachable, and maybe it's not so easy to grow up with perfect people. She is raised in the rigor of Protestantism – her grandfather was a silkworm industrialist, a precursor boss, one of the first to grant weeks of vacation to workers, and he was also a pastor. At age 14, in 1956, when she became aware of the extermination of the Jews, she can no longer believe and she suffered a year later a serious episode of anorexia. Being an actress then acts as an act of rebellion, the possibility of escaping from a prison without a wall. There is the need to succeed – his brother, he was champion of cycling – to which, student in letters, she does not subscribe. Edith Scob has never sought to be a star. Being specialized in supporting roles, making appearances in the cinema and disappearing pleased him immeasurably. She did not feel any bitterness. Especially since part of his life, passed on the boards, (in inside, edited by Claude Régy, in the Solitary Path, by Luc Bondy, or in creations by Jean-Pierre Vincent or Bernard Sobel).

Worrying. With her husband, the composer Georges Aperghis, she created in 1976 the theater and music workshop (Atem) of Bagnolet, where it is a question of getting closer to the public and to mix the disciplines. "We really thought we could change the world. It was beautiful, this utopia, She said.

Mad, victim, monster, Edith Scob was captured by the role that made her known who was like a matrix of all the others. But we can not reduce it to that. If it was worrying, she also had a comic fiber unveiled first by Tonie Marshall, a true fairy for the actresses of her films, and in Venus Beauty (Institute) where she embodies one of the customers with the impossible requirements to satisfy everyone. We also remember, the same year, his composition unleashed in the role of the Duchess of Guermantes in front of the camera of Raoul Ruiz in recovered time. She said that age was a chance, and that she had waited to be 60 years old to no longer be afraid of the camera. That young, she had been extremely pretty, but that beauty had inhibited her. We would have liked a filmmaker to propose a main role, the remake of What happened to Baby Jane? with Bulle Ogier in the other female role, eventually. But no ! Edith Scob was a woman who was disappearing. And since yesterday, alas, definitely.

Anne Diatkine

(tagsToTranslate) Édith Scob (t) Filmmaker (t) Raoul Ruiz (t) Eyes without face (t) Actor (t) Anticonformist (t) Georges Aperghis (t) Anorexia (t) Matrix (t) Bernard Sobel (t) ) Tonie Marshall (t) Venus beauty (institute) (t) Luc Bondy (t) Gaston Leroux (t) Perception (t) Nicolas Klotz (t) The Bloody Doll (t) Comedy de l


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