The actress returns this evening in Un air de famille, which gave her her first Caesar, in 1997.
Born to an engineer father and a mathematics teacher mother, in 1956, Catherine frot was passionate about the theater from his childhood. At 14, she joined the conservatory of Versailles, and found her first role on the screen in the series of five romantic TV films entitled The charms of summer, broadcast in 1975. At 18, she plays Beatrice, a young girl with disturbing charm, raised by her mother (she was chosen for her resemblance to Marina Vlady).
Five years later, she made her film debut in front of Alain Resnais’ camera for a supporting role in My uncle from America. Since then, Catherine Frot has become very popular with the French public: 13 of her films have crossed the million admissions to the cinema (in particular The dinner of idiots, which drew 9.2 million viewers in theaters in 1998), and she was nominated ten times for the César, winning two trophies: that of the best actress in a supporting role for A family resemblance, in 1997, and for best actress for Daisy, in 2016.
La Dilettante is worth it for the masterful interpretation of the dapper Catherine Frot [critique]
Tonight, we will find it in the classic by Cédric Klapisch, rebroadcast on CStar. With 2.4 million admissions when it was released, this classic of French comedy was co-written by Agnès Jaoui and Jean-Pierre Bacri from their eponymous play performed in the 1990s. In the number of First in November 1996, Jean-Yves Katelan recalled in his portrait of the actress that Catherine Frot was above all a stage actress.
Nicknamed her “the marquise of the boards”, he said that this woman usually having “a head to stand up to” had created his unforgettable “Yo-yo”, abandoned wife who regrets celebrating her birthday with the family so much everyone does not care about her little person, playing her more than 250 times on stage: “She idealized this character very quickly, from the first rehearsals. And he hasn’t budged since. He could have bordered on the caricature, the long-awaited second nunuche role. But she spiced it up. “The actor has to be his own director. It’s easier in the theater, you depend so much less on technical data.” In fact, this profession is terribly concrete. Catherine found her “Yo-yo” in the costumes, thinking a lot about Jacques Tati, a floral silhouette a little inspired by the 60s … “The hands, the attitudes, the gestures, I selected them one by one. Yoyo is attracted to objects: holding a glass, taking off his shoe, clinging to his waistcoat … He is a scary character at the start, So, you had to find reasons to love him. Reasons to love people often go through gestures, right? What I find moving in the theater is when you see an actor who has worked on his entire score. “”
“We feel that there is a universe between Catherine Frot and this Yolande who cries, dances and laughs in A family resemblance, by Klapisch. However, it is she who lives it, who breathes it and who grows it, who gives us to love its formidable banality while so many other actors, today, take pleasure in forcing the line, in mocking the reality of all Yoyo … “, concluded the journalist, visibly conquered by his performance. In short, the drafting advises you to see again this evening A family resemblance, for Catherine Frot, but also for all the excellent actors around her: Jaoui and Bacri, of course, as well as Jean-Pierre Darroussin, Claire Maurier and Wladimir Yordanoff.
Cédric Klapisch pays homage to Jean-Pierre Bacri: “You weren’t complaining, you were a rebel”