schneiders baby furniture
Schneiders Baby Furniture – The Amazing Amos and the Greatest Couch on Earth – Jean-Claude Brialy
Schneiders Baby Furniture
- Maple Leaf Foods Inc. is a major Canadian food processing company, founded in 1927 as a merger of several major Toronto meat packers.
- Furniture (probably from the French 'fournir' — to provide) is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above
- furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"wordnetweb.princeton.edu/perl/webwn
- Furniture was a British pop band, active from 1979 to 1991 and best known for their 1986 Top 30 hit "Brilliant Mind".
- In typesetting, furniture is a term for pieces of wood that are shorter than the height of the type. These pieces are used to layout type by blocking out empty spaces (white space) in a layout set in a chase.
- a very young child (birth to 1 year) who has not yet begun to walk or talk; "the baby began to cry again"; "she held the baby in her arms"; "it sounds simple, but when you have your own baby it is all so different"
- the youngest member of a group (not necessarily young); "the baby of the family"; "the baby of the Supreme Court"
- child: an immature childish person; "he remained a child in practical matters as long as he lived"; "stop being a baby!"
- an unborn child; a human fetus; "I felt healthy and very feminine carrying the baby"; "it was great to feel my baby moving about inside"
Dashing and strikingly versatile actor Jean-Claude Brialy (1933-2007) became a star in the late 1950’s when he was one of the best known faces of the Nouvelle Vague. He worked with such New Wave filmmakers as Claude Chabrol, Jean-Luc Godard, Louis Malle, and Francois Truffaut, and he also directed a number of films himself. It made him an embodiment of the French cinema for a global audience.
Jean-Claude Brialy was born in Aumale, French Algeria (now Sour El-Ghozlane, Algeria), in 1933. He was the son of Roger Brialy, a colonel stationed in colonial Algeria with the French Army, and Suzanne Abraham. At the age of nine, he went with his family to various cities in France, settling after the war in Strasbourg, where he took his baccalaureate. Brialy showed great promise in drama and won first prize at the Conservatoire de Strasbourg. He detested his strict upbringing, and acting became an early form of rebellion. He had violent arguments with his father, who once locked the 15-year-old boy in to prevent his attending rehearsals of a school play, Jean-Claude responded by smashing up the furniture. Against the wishes of his parents, he enrolled at the Centre Dramatique de l’Est (Eastern Centre of Dramatic Art in Strasbourg), to train to be an actor. Military service then intervened and Brialy found himself attached to an army film unit in the German town of Baden-Baden. There he made his first film, a short entitled Chiffonard et Bon Aloi. His job also enabled him to go to shows, and to meet actors, including Jean Marais. Demobilized, he moved to Paris in 1954. There he scratched a living by small roles on stage and entertaining the queues outside the first-run cinemas on the Champs Elysees. He became friendly with a group of young critics and aspiring filmmakers who were taking over the influential journal Cahiers du Cinema. At 21, he joined a Cahiers outing to Arles to see Jean Renoir’s stage production of Julius Caesar. He made his film debut in a short directed by one of the Cahiers critics, Le Coup du berger/Fool’s Mate (1956, Jacques Rivette). Cahiers editor Eric Rohmer casted him as the lover in his 10-minute short La sonate a Kreutzer/The Kreutzer Sonata (1956), an adaptation of the short story by Tolstoy. Brialy appeared uncredited in two features by Louis Malle: Les Amants/The Lovers (1958, Louis Malle) and Ascenseur pour l’echafaud/ Elevator to the Gallows (1958, Louis Malle) both starring Jeanne Moreau. His first lead was in Le beau Serge/Handsome Serge (1958, Claude Chabrol) as an idealistic Parisian student who returns after a ten-year absence to his provincial village and becomes obsessed with saving an old school friend who has become a hopeless alcoholic (played by the brooding Gerard Blain, often called the James Dean of France). The film, which won an award in Locarno, and the Jean-Vigo Prize, immediately attracted attention, and the performers (Brialy, Blain, and Bernadette Lafont) were widely acclaimed. Le beau Serge was immediately followed by Les Cousins/The Cousins (1959, Claude Chabrol), in which Brialy played the sardonic town cousin to Blain’s simple country cousin.
The young Turks of the Cahiers du Cinema formed the core of the Nouvelle Vague (New Wave). This film movement was a rebellion against the conventions of the French cinema. As James Travers writes at Films de France: ”Out went polished scripts, well-rehearsed performances and meticulously staged productions. In came spontaneity, improvisation, subversive politics, real human emotion, and fun.” The Cahiers critics were starting to have an impact far greater than they could have anticipated and the French cinema seemed to be going through a period of frantic renaissance. The director became the intellectual author of the film; the stars were made more human, the stories more enigmatic. Jean-Claude Brialy also made several films with the other Nouvelle Vague filmmakers including Jean-Luc Godard, Francois Truffaut, Agnes Varda, Pierre Kast, and Jacques Rozier. Ronald Bergan stated in The Guardian: “Where Belmondo represented anarchy, Leaud youthful innocence and Blain sensitivity, Brialy brought cynicism, charm and sophistication to the films of the period.” Brialy was the leading man in Godard’s ‘neo-realist musical’ Une Femme est une femme/Woman Is a Woman (1961, Jean-Luc Godard), in which Anna Karina plays a stripper who wants to have his baby and turns to his best friend Jean-Paul Belmondo when he refuses. In the film Brialy directly addresses the audience with a line that became an epigram for the Nouvelle Vague: “It’s hard to tell if this is a comedy or a tragedy, but either way it’s a masterpiece.” For Truffaut he appeared opposite Jeanne Moreau in La Mariee etait en noir/The Bride Wore Black (1968, Francois Truffaut), and for Rohmer he starred in Le Genou de Claire/Claire’s Knee (1970, Eric Rohmer), in which he played a bearded Cultural attac