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Man’s strange relationship with other species haunts this freaky simian horror film from
Psycho IIdirector Richard Franklin.
Man’s strange relationship with other species haunts this freaky simian horror film from
Psycho IIdirector Richard Franklin. Terence Stamp is Dr Phillips, an archetypal, lab-coated mad scientist, grumpily testing the limits of ape intelligence, and Elisabeth Shue zoology student Jane, unwisely offering help at his remote Gothic mansion, where the most developed ape, Link, is his besuited butler and begrudging factotum.
There’s something of
The Island of Dr Moreau in Phillips’ arrogant, eventually overthrown genetic tyranny. “He’s missed the bus by a lousy 1%!” he rails at the apes’ shortfall from human civilisation. As he clambers over tables and into cages, the gap looks narrower than he thinks. The Doc is tweedy, superior and seedy, with vague designs on his young student, and a bedroom piled high with copies of his one, well-regarded book; his second, mordantly named

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Jean-Claude Carrière obituary


Last modified on Wed 17 Feb 2021 13.41 EST
One of the tenets observed by the screenwriter Jean-Claude Carrière, who has died aged 89, was that “the scenario is created when you and the director establish a near telepathic communication. This requires, on both sides, a receptiveness and a trust which can never be taken for granted. The scriptwriter must on occasion be prepared to submerge his ego, since ultimately it’s the director’s film, and you’re there to help him, to facilitate him.”
Among the film directors whom Carrière “facilitated” were Louis Malle, Pierre Etaix, Volker Schlöndorff, Miloš Forman and, above all, Luis Buñuel, for and with whom he wrote six exemplary screenplays. Carrière first met Buñuel in 1963 when the latter was looking for a French co-writer on Diary of a Chambermaid, based on Octave Mirbeau’s 1900 novel. “Buñuel chose me only after eating lunch together and getting me to talk about the possible adaptation of the book. So, I went to Spain to work with one of the greatest directors of the era, a man whom I deeply admired. That started a collaboration which lasted for almost 20 years.” In Carrière, Buñuel found “the writer closest to me”.

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Jean-Claude Carrière at home


© Gautier Deblonde
To interview the screenwriter of The Unbearable Lightness of Being (1987), Cyrano de Bergerac (1990) and most of Luis Buñuel’s French oeuvre requires me to find a discreet Parisian archway that opens on to a charming tree-shaded courtyard. On one side is a white house with a large terrace on which stands Jean-Claude Carrière, the man who describes film as “the first language successfully invented by man”.
In France Carrière is hailed as a leading intellectual who happens to have one of the most distinguished lists of screenwriting credits in the world. Mention him to a French person and they are likely to talk about his 1996 book Conversations sur l’invisible, his exploration of the frontiers of science or his theatrical partnership with Peter Brook. Where another writer might have been typecast for life as a surrealist following a collaboration with Buñuel on The Discreet Charm of the Bourgeoisie (1972), Carrière has been mercurial in the extreme, working with directors as diverse as Jesus Franco and Louis Malle. Today he is as much in demand as ever and has just returned from Spain where Milos Forman is filming his script of Goya’s Ghost.

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Jean-Claude Carriere, 'Unbearable Lightness of Being' Screenwriter, Dies at 89


Jean-Claude Carriere, 'Unbearable Lightness of Being' Screenwriter, Dies at 89
Pat Saperstein, provided by
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His family confirmed his death, of natural causes, to AFP.
Carriere was a frequent collaborator with Luis Bunuel, writing the screenplays for “Diary of a Chambermaid,” in which he also played the village priest, ” “Belle de Jour,” “The Milky Way” and “The Phantom of Liberty” as well as the international arthouse hits and Oscar nominees “That Obscure Object of Desire” and “The Discreet Charm of the Bourgeousie.”
In an interview for “The Storytellers,” Carriere talked about how close his relationship became with Bunuel, “It was a very close relationship. We were always alone in some remote place, often in Mexico or Spain, talking French and Spanish, without friends, without women, without wives. Absolutely no one around. Just the two of us. Eating together, working together, drinking together to get absolutely obsessed about the script we were working on. I calculated that we ate together, just the two of us, more than 2000 times. Which is much more than many couples can say.”

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