The foreign press hails “an icon”, “a magnetic star”

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The day after his disappearance on Monday, the sacred monster of French cinema Jean-Paul Belmondo is of course the front page of the national press, regional and even sporting. The team has got into the habit of adapting his headline for the death of personalities, and Bébel and his filmography are therefore invited to the front page with a “Fear of the city” for the France-Finland match on Tuesday evening, in the inside pages and even in a special supplement dedicated to the actor.

Also abroad, the press has given a significant place to the actor, in these digital editions as paper. British daily Guardian thus salutes “the face of the New Wave”, “a dented icon that made crime sexy, immortalized by Godard and Melville”. the New York Times and the Washingston post evoke, respectively, “the magnetic star of the French New Wave” and “a nonchalant antihero”, “casual”.

“A dreadful with irresistible charm” in Italy

On the other side of the Alps, the press recalls that Jean-Paul Belmondo had Italian origins through his father Paul, son of a Piedmontese and a Sicilian. La Repubblica do not fail to recall that after Breathless, the actor “was one of the most requested in Europe” and “especially in Italy where he chained the films”. The daily pays homage to the one she describes as an “dreadful man with irresistible charm”: “We who were young in the 1960s and who loved the new cinema, the French New Wave which revolutionized the way of doing and watching films. films, we have never forgotten Jean-Paul Belmondo ”.

The Corriere della Sera also insists on the physique of the actor by titling: “Flattened nose and voluntary lips, he was the swaggering hero of French cinema”. “A vital, adventurous and popular part of French cinema is dead”, we read in an article mentioning Bébel’s consequent career in the theater and the role of Cyrano de Bergerac for which he was particularly admired in Italy. The text concludes with his nature as a “desperate rebel, perhaps without a cause, but who knew how to self-parody: an ideal passage from the Gabin era to that of Depardieu. “

We find all the superlatives to describe the actor and his career, “an icon of modernity” among the Spaniards of‘El Pais, or even “the link between auteur cinema and popular cinema, French cinema all by itself” for the Belgians of the Evening.





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