admired player with a presence is instinctive and austere
One of the greatest spectacles in the history of the film was given by Claude Laydu in the title role in Robert Bresson's Diary of UN Country Priest (Journal of a Country Priest, 1951 ). As a young priest, sick, unable to solve the problems of his little parish, and assaulted by doubt, Laydu, who died aged 84, took his own spirituality, the presence of intense and ascetic instinct is to run. His performance prompted Jean Tulard to write in his Dictionary of Film "no other actor deserves to go to heaven as much as Laydu."
This is all the more remarkable because Bresson said that "Art is the transformation. No person may get in the way "and called on his players 'models' which was formed to eliminate any trace of theatricality and speak in a monotone. Bresson chose 23 years old, among the many candidates, all Catholics.
Born in Brussels, Laydu went to Paris to study theater at the National Academy of Dramatic Art. He was a member of the company of Madeleine Renaud and Jean-Louis Barrault at the Marigny Theatre, where he auditioned for Bresson. For more than a year and Laydu Bresson met every Sunday to discuss the document. To get used to the holy life, Laydu spent some time in a monastery. Fasted a lot during the shooting, which helped to give the appearance of a man suffering both physically and spiritually.On the side, Laydu was launched against type as corrupt and effeminate Attila Valentinian Caesar (1954) and two musical fantasy biopics, like Franz Schubert, Symphony in d'Amore (1956), Carlo Goldoni that Italienisches Capriccio (1961). In the latter case, he played opposite his wife, Christine Balli, who bore him a son and a daughter.
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