Entertainment
Françoise Gilot, French painter who inspired then left Picasso, dead at 101
Françoise Gilot, a prolific and acclaimed painter who produced art for more than a half-century but was nonetheless more famous for her turbulent relationship with Pablo Picasso — and for leaving him — died Tuesday in New York City, where she had lived for decades. She was 101.
Gilot’s daughter, Aurelia Engel, said her mother had been suffering from both lung and heart problems. “She was an extremely talented artist, and we will be working on her legacy and the incredible paintings and works she is leaving us with,” Engel said.
The French-born Gilot had long made her frustration clear that despite acclaim for her art, which she produced from her teenage years until five years ago, she would still be best known for her relationship with the older and more famous Picasso, whom she met in 1943 at age 21, his junior by four decades.
The union produced two children — Claude and Paloma Picasso. But unlike the other key women in Picasso’s life — wives or paramours — Gilot eventually walked out.
“He never saw it coming,” Engel said of her mother’s departure. “She was there because she loved him and because she really believed in that incredible passion of art which they both shared. (But) she came as a free, though very, very young, but very independent person.”
Gilot herself told the Guardian newspaper in 2016 that “I was not a prisoner” in the relationship.
“I’d been there of my own will, and I left of my own will,” she said, then 94. “That’s what I told him once, before I left. I said: ‘Watch out, because I came when I wanted to, but I will leave when I want.’ He said, ‘Nobody leaves a man like me.’ I said, ‘We’ll see.’ ”
Gilot wrote several books, the most famous of which was “Life With Picasso,” written in 1964 with Carlton Lake. An angry Picasso sought unsuccessfully to ban its publication.
“He attacked her in court, and he lost three times,” said Engel. “After the third loss he called her and said congratulations. He fought it, but at the same time, I think he was proud to have been with a woman who had such guts like he had.”
Born on Nov. 26, 1921, in leafy Neuilly-sur-Seine in suburban Paris, Gilot was an only child. “She knew at the age of 5 that she wanted to be a painter,” Engel said. In accordance with her parents’ wishes, she studied law, however, while maintaining art as her true passion. She first exhibited her paintings in 1943.
Pablo Picasso with Francoise Gilot at Cannes Film Festival in 1953
(Associated Press)
That was the year she met Picasso, by chance, when she and a friend visited a restaurant on the Left Bank, amid a gathering that included his then-companion, Dora Maar.
“I was 21 and I felt that painting was already my whole life,” she wrote in “Life With Picasso.” When Picasso asked Gilot and her friend what they did, the friend responded that they were painters, to which Picasso responded, “That’s the funniest thing I’ve heard all day. Girls who look like that can’t be painters.” The two were invited to visit Picasso in his studio, and the relationship soon began.
Not long after leaving Picasso in 1953, Gilot reunited with a former friend, artist Luc Simon, and married him in 1955. The had a daughter — Engel — and divorced in 1962. In 1970, Gilot married Jonas Salk, the American virologist and researcher famed for his work with the polio vaccine, and began living between San Diego and Paris, and later New York.
Her art only increased in value over the years. In 2021 her “Paloma à la Guitare” (1965) sold for $1.3 million at a Sotheby’s auction. Her work has been shown in many prominent museums, including the Metropolitan Museum of Art and the Museum of Modern Art. Her life with Picasso was illustrated in the 1996 movie “Surviving Picasso,” directed by James Ivory.
Pablo Picasso with Françoise Gilot and their child Claude.
(ASSOCIATED PRESS)
Engel noted that although the relationship with Picasso was clearly a difficult one, it gave her mother a certain freedom from her parents and the constraints of a bourgeois life — and perhaps enabled her to pursue her true dream of being a professional painter, a passion she shared with Picasso above all else.
“They both believed that art was the only thing in life worth doing,” she said. “And she was able to be her true self, even though it was not an easy life with him. But still she was able to be her true self.”
And for Engel, her mother’s key legacy was not only her creativity but her courage, which was reflected in her art, which was always changing, never staying safe.
“She was not without fear. But she would always confront her fears and jump in the void and take risks, no matter what,” Engel said.
Final Report:
Peddha Kapu offers solid technical values and supporting cast, but the core story, emotions, and drama are lost in the confusing narration. Director Srikanth Addala’s comeback is a mixed bag.
First Half Report:
Despite superb visuals and a solid score, Peddha Kapu feels a bit all over the place in the first half but still maintains intrigue. Hopefully, the second half will provide less confusion and more clarity on character arcs and the core plot.
— Peddha Kapu show started with an intense, chaotic action sequence in a village, setting up the perfect beginning for the drama. Stay tuned for the first half report.
Stay tuned for Peddha Kapu 1 Movie Review, USA Premiere Report.
Peddha Kapu 1 is directed by Srikanth Addala, marking his return after a long hiatus since “Brahmotsavam” in 2016. The film features Virat Karrna, Pragati Srivastava, Rao Ramesh, and Tanikella Bharani in lead roles. Srikanth Addala, known for his soft genre films, is making a comeback with this intense film, and the trailer has raised expectations for the movie.
Cast and crew : Virat karrna, Pragati srivasthava, Rao Ramesh, Naga Babu, Tanikella Bharani, Brigada saga, Rajeev kanakala, Anusuya, Eeshwari Rao, Naren
Producer : Miryala ravinder reddy
Director: Srikanth Addala
Dop : Chota K Naidu
Music : Mickey J meyer
Fights : Peter Hein
Editor : Marthand K Venkatesh
Art : GM Sekhar
Dance Master : Raju sundaram
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Entertainment
‘Harry Potter’ cast members pay tribute to Michael Gambon: ‘The world just became considerably less fun’
Tributes to Michael Gambon poured in from his former “Harry Potter” castmates following the death of the actor, who portrayed Hogwarts headmaster Albus Dumbledore in six of the eight blockbuster films. Gambon’s death, at age 82, was confirmed Thursday by his publicist.
A statement from the actor’s family said he died after “a bout of pneumonia.”
“We are devastated to announce the loss of Sir Michael Gambon. Beloved husband and father, Michael died peacefully in hospital with his wife Anne and son Fergus at his bedside,” his family said.
Daniel Radcliffe, who played the titular role in the “Harry Potter” franchise, expressed his grief over Gambon’s loss in a statement to The Times.
“With the loss of Michael Gambon the world just became considerably less fun,” he said. “Michael Gambon was one of the most brilliant, effortless actors I’ve ever had the privilege of working with, but despite his immense talent, the thing I will remember most about him is how much fun he had doing his job. He was silly, irreverent and hilarious. He loved his job, but never seemed defined by it.
“He was an incredible story and joke teller and his habit of blurring the lines of fact and fiction when talking to journalists meant that he was also one of the most entertaining people with whom you could ever wish to do a press junket.”
Radcliffe shared that he grew especially close to Gambon during the filming of 2009’s “Harry Potter and the Half-Blood Prince.”
“The sixth film was where I got to spend the most time working with Michael and he made the hours spent in front of a green screen together more memorable and joyous than they had any right to be,” Radcliffe said. “I’m so sad to hear he has passed, but I am so grateful for the fact that I am one of the lucky people who got to work with him.”
Rupert Grint, who played Ron Weasley in the film series, posted a photo of Gambon in full Dumbledore attire to his Instagram following the news of the Irish actor’s death.
“So sad to hear about Michael. He brought so much warmth and mischief to every day on set,” Grint captioned the post. “He captivated me as a kid and became a personal role model of mine for finding the fun and eccentricities in life. Sending all my love to his family, Rupert.”
Grint’s onscreen sister, Bonnie Wright, also posted a tribute to Gambon on Instagram.
“I was forever in awe of Michael’s presence and performance. His deep mischievous voice between scenes would vibrate through the Great Hall,” wrote the actor who played Ginny Weasley. “He was Dumbledore through and through a constant, warm and guiding figure. Rest in peace Michael. Sending love to your family.”
J.K. Rowling, the creator of the “Harry Potter” universe, shared in an X post her first memory of seeing Gambon perform.
“I’ve just heard the awful news about Michael Gambon. The first time I ever laid eyes on him was in King Lear, in 1982, and if you’d told me then that brilliant actor would appear in anything I’d written, I’d have thought you were insane,” she wrote. “Michael was a wonderful man in additional to being an outstanding actor, and I absolutely loved working with him, not only on Potter but also The Casual Vacancy. My deepest condolences go to Michael’s family and everyone who loved him.”
Irish actor Fiona Shaw, who took on the role of Petunia Dursley, recalled Gambon’s deep love of his craft.
“I will think of him as a trickster, just a brilliant, magnificent trickster. But with text, there was nothing like him; he could do anything,” she told BBC Radio 4. “He just loved the precariousness of reality and unreality, and of course, that made him a very great actor. … He did once say to me in a car, ‘I know I go on a lot about this and that, but actually, in the end, there is only acting.’ I think he was always pretending that he didn’t take it seriously, but he took it profoundly seriously, I think.”
Other cast members to pay tribute included Jason Isaacs, who played Lucius Malfoy, and James Phelps, who portrayed Fred Weasley. See their tributes below.
The Associated Press contributed to this report.
When one speaks of cultural relevance, some movies capture
it in the moment (oftentimes dating the production in the process). Others
grasp it as if looking in a rearview mirror. But there’s a small group, either
through clairvoyance or happenstance, that achieve it years or decades ahead of
time. The Believer is one such film; its themes seem more relevant two
decades after its release than they did when it reached theaters in 2001.
The directorial debut of Henry Bean (who wrote the
screenplays for both Internal Affairs – the good – and Basic Instinct 2 – the bad) offers numerous challenging ideas but falls short when it
comes to character development and motivation. The narrative is scattershot –
events happen too quickly, transitions are frequently missing or truncated, and
certain aspects aren’t believable. Although the movie uses flashbacks to
explore why the main character, Danny Balint (Ryan Gosling), has adopted the
philosophies he espouses, there’s still something missing.
Danny grew up Jewish but, as a child, he pushed back against
orthodox interpretations of the Torah. As an adult, he has repudiated Judaism
altogether, opting to become a neo-Nazi and partnering with 21st
century fascists Curtis Zampf (Billy Zane) and Lina Moebius (Theresa Russell).
Although Curtis and Lina disagree with Danny’s virulent antisemitism (they
perceive fascism as an economic and political philosophy not necessarily tied
to race), they are impressed by his passion and oratorical skills and believe
he can be an asset to the movement. After beginning a relationship with Lina’s
daughter, Carla (Summer Phoenix), who is also sleeping with Curtis, Danny exhibits
conflicted emotions regarding Jewish iconography. Although he violently attacks
a Jew in the streets and attempts to shoot another, he shows a fascination for
the Torah and, at her request, begins to teach Carla Hebrew. Danny’s evolving
conflict is evident in a bizarre scene where he combines a Nazi salute with a
Hagabah.
Although The Believer does an adequate job
postulating how a disaffected Jewish youth might not only repudiate his
heritage but become hostile toward it, the film does not effectively flesh out
Danny as a fully formed individual. Oftentimes, he appears more like a writer’s
construct. The situation is exacerbated with Carla – a lifelong fascist, her
sudden fascination with Judaism is inexplicable and unexplained. Her character
represents one of The Believer’s biggest problems because everything
about her is forced and artificial. Her motivations are as obtuse as her
feelings about Danny and Curtis. When asked by Danny why she is with him while
also sleeping with Curtis, she responds that the sex is better with Danny.
I was not as impressed with Ryan Gosling’s performance as were
many of the contemporaneous critics who reviewed the film, although I agree
that there are several scenes in which his intensity is frighteningly effective,
the most notable being during a confrontation with journalist Guy Danielsen
(A.D. Miles), when Danny brandishes a gun. Overall, however, I found Gosling’s
acting to be uneven, but I acknowledge that this could be more the fault of the
screenplay than the performer.