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Emmanuelle Riva Poster

Biography

Jump to: Overview (4) | Mini Bio (1) | Trade Mark (6) | Trivia (56) | Personal Quotes (23)

Overview (4)

Date of Birth 24 February 1927Cheniménil, Vosges, France
Date of Death 27 January 2017Paris, France  (cancer)
Birth NamePaulette Germaine Riva
Height 5' 5½" (1.66 m)

Mini Bio (1)

An only child, Emmanuelle was born Paulette Germaine Riva in Cheniménil, but eventually grew up in Remiremont. Her mother, Jeanne Fernande Nourdin, was a seamstress. Her father, René Alfred [Alfredo] Riva, was a sign writer. Her paternal grandfather was Italian. She dreamed of becoming an actress since she was six, so that the entire world would take notice of her. This ambition was, however, to be met with firm opposition from her own family. Emmanuelle's father, a strict disciplinarian to whom the word "actress" was basically a synonym for "prostitute", disapproved of her way of thinking, since it clashed with the simple values he wished to pass on to her. Emmanuelle felt great affection towards her parents, but, at the same time, was under the impression that they couldn't really understand what she wanted. A bit of a tomboy and a rebel in her schooldays, she showed little interest in studying, but always directed her passion towards acting, appearing in every year-end play. In her early 20's, Emmanuelle was to find out the true meaning of nervous depression. Having completed the seamstress apprenticeship she had started at age 15, she eventually resigned herself to take up this profession, also discouraged by the thought that, in a city like Remiremont, the only possible alternative was to become a hairdresser. The sense of boredom that was weighing her down actually got so devouring that sewing sort of became the only form of escape from the horror of her everyday reality. But luckily, things were soon to change for the better. The day Emmanuelle discovered the announcement of a contest at the Dramatic Arts Centre of Rue Blanche was the day she found the courage to stand up to her parents and state that she would have traveled to Paris to become an actress. Having finally understood the depth of her sadness, her family couldn't oppose her wishes any longer, so, on the 13th May of 1953, she arrived in Paris.

At the Rue Blanche contest, Emmanuelle auditioned in front of one of the leading actors and directors of the Comédie-Française, the great Jean Meyer. She acted one scene from "On ne badine pas avec l'Amour" by Alfred de Musset. Meyer and the other acting teachers in the jury were just mesmerized by her performance and immediately realized that they had found the next big thing. It goes without saying that Emmanuelle was awarded a scholarship and Meyer himself decided to take her as his own pupil. At 26, Riva was too old to enter the French National Academy of Dramatic Arts, but she soon got her big break anyway, since French stage pillar René Dupuy cast her in a production of George Bernard Shaw's "Arms and the Man". Her next theatrical credits were "Mrs.Warren's Profession" (Shaw), "L'espoir" (Henri Bernstein), "Le dialogue des Carmélites" (Georges Bernanos), Britannicus (Jean Racine), "Il seduttore" (Diego Fabbri). Emmanuelle's small screen debut was in a 1957 episode of the history program Énigmes de l'histoire (1956), "Le Chevalier d'Éon". In the program, she played the Queen of England opposite Marcelle Ranson-Hervé as the cross-dressing knight in the service of the French crown. 1958, on the other hand, was the year that saw her first film appearance, an uncredited role in the Jean Gabin movie The Possessors (1958). The following year would, however, mark a turning point in her career. Emmanuelle was starring in the Dominique Rolin play "L'Epouvantail" at the "théatre de L'Oeuvre" in Paris when one night she found a visitor in her dressing room. His name was Alain Resnais and he was a young director responsible for a few shorts and documentaries (including the Holocaust-themed masterpiece Night and Fog (1956)). He was apparently looking for the female lead of his first feature film, Hiroshima Mon Amour (1959), based on a script by the great author, Marguerite Duras. Having seen a picture of Riva in a playbill of the production she was starring in, Resnais had immediately urged to see her. Without promising her anything, the director just asked Emmanuelle if he could take a few photos of her, so that he would have later shown them to Duras for a response. In addition to this, he also invited her at his place where he filmed her reciting some lines from "Arms and the Man". When he brought Duras the material, the author set her eyes on Emmanuelle's melancholic, enigmatic expression and immediately realized that they had found the one they were looking for. "Hiroshima Mon Amour" turned out to be one of the most acclaimed and representative movies of the French New Wave and launched both Resnais and Riva's careers in full orbit. Being somehow familiar with a sense of captivity, Emmanuelle gave an incredibly personal and involving performance as the unnamed heroine of the movie, and it was one that came straight from her heart. Playing an actress from Nevers who develops a love affection towards a Japanese architect (Eiji Okada) while filming an anti-war movie in Hiroshima, Emmanuelle helped modernizing acting and female figures in film through an intimate, almost minimalistic woman portrayal that was quite unlike anything else that had been seen on the silver screen to that moment. Speaking her character's thoughts through a great deal of voice-over that could give the viewer constant access to her mind (making for an unusual amount of psychological introspection) , she was able to masterfully translate every last one of these feelings to subtle facial expressions whose richness and eloquence made her face the mirror of the compex soul she was baring before the camera. Combining this heartfelt approach with a refined diction that could perfectly deliver Duras' deep, existentialist lines of dialogue, she gave the world a new type of heroine who, while set apart by a distinctive intellectual charm, remained very humanly relatable. This ground-breaking acting was greatly praised by the critics of the time who were most open to innovation, including some that later became masters of revolutionary cinema themselves. Jean-Luc Godard stated: "Let's take the character played by Emmanuelle Riva. If you ran into her on the street, or saw her every day, I think she would only be of interest to a very limited number of people. But in the film she interests everyone. For me, she's the kind of girl who works at the "Editions du Seuil" or for "L'Express", a kind of 1959 George Sand. A priori, she doesn't interest me, because I prefer the kind of girl you see in [Renato] Castellani's film. This said, Resnais has directed Emmanuelle Riva in such a prodigious way that now I want to read books from "Le Seuil" or "L'Express". This was Éric Rohmer's take on Riva's 'Elle': " She isn't a classical heroine, at least not one that a certain classical cinema has habituated us to see, from David Griffith to 'Nicholas Ray'. Jacques Doniol-Valcroze summed her up this way: "She is unique. It's the first time that we've seen on the screen an adult woman with an interiority and a capacity for reasoning pushed to such a degree. Emmanuelle Riva is a modern adult woman because she is not an adult woman. She is, on the contrary, very childlike, guided by her impulses alone and not by her ideas". And Jean Domarchi commented that "In a sense, Hiroshima is a documentary on Emmanuelle Riva". The phenomenal intelligence and dramatic intensity of Emmanuelle's performance made "Elle" one of the most indelible characters in film history: however, while Duras' screenplay received an Oscar nomination, her star-making turn was sadly overlooked by the Academy. At least she won the "Étoile de Cristal" (the top film award given in France between 1955 and 1975 by the "Académie française" and later replaced by the César) for Best Actress for her work in the movie.

One year later, Emmanuelle was known as a major talent and, consequently, plenty of directors from different nationalities were knocking at her door. She followed her Hiroshima success with two acclaimed turns in Le huitième jour (1960) and Recours en grâce (1960). In addition to playing these leading roles for French cinema, a scene-stealing Riva was also seen as Simone Signoret's feisty friend in Antonio Pietrangeli's excellent Adua e le compagne (1960) and gave the standout performance in Gillo Pontecorvo's superb Kapò (1960) as a Jewish prisoner in a concentration camp. Enter 1961: another year, another career highlight. Emmanuelle was cast opposite Jean-Paul Belmondo in Jean-Pierre Melville's ground-breaking (and shocking for its time) Léon Morin, Priest (1961). In the movie, Riva's Barny, an atheist widow, and Belmondo's Morin, a young and seductive priest, develop a deep, theological relationship with strong sexual implications. Melville cast Emmanuelle thinking that she possessed the kind of intellectual eroticism the character needed and decided to demean her appearance as much as possible by having her dressed in the plainest clothes, so that Barny's major appeal would have been the cultural vivacity shining through her beautiful facial features. Riva and Belmondo's performances turned out to be outstanding and the film, against all odds, ended up being a big success. Riva next appeared in Climats (1962), the first (and only) feature film of TV writer and director Stellio Lorenzi, the man behind celebrated history programs such as La caméra explore le temps (1957) and its immediate predecessor, "Énigmes de L'Histoire", where Emmanuelle had done her screen debut. Adapting André Maurois' novel, Lorenzi hired Emmanuelle seeing her great interpretative sensitivity as being close to the nature of the character she would have played in the movie, also starring Jean-Pierre Marielle and Marina Vlady. In the story, Marielle is torn between sacred and profane love, leaving Vlady's vain and frivolous Odile for Riva's kind and good-hearted Isabelle. The same year, Emmanuelle scored another huge personal triumph as the title heroine of Georges Franju's Therese (1962). Her performance as François Mauriac's ill-fated 20th century Emma Bovary was a true masterpiece of psychological introspection: she perfectly captured all the key traits of the character at once, making her vulnerability coexist with her spirit of rebellion and her desire for freedom go along with a strong sense of self-destruction. Emmanuelle's work in the movie won her enormous raves and a sacred, unanimous Volpi Cup at Venice Film Festival. For the rest of the 60's (her golden period), Emmanuelle kept playing leading roles in French and Italian movies alike and also kept expanding her work to the TV medium. She found excellent, showcasing roles both in Thomas l'imposteur (1965) (where she was directed by Franju for the second and last time) and in the lovely comedy The Hours of Love (1963) where she enjoyed a very unusual kind of wedding to Ugo Tognazzi. The third segment of Io uccido, tu uccidi (1965) paired her for the first time with Jean-Louis Trintignant. In this story of "Amour Fou", Riva plays a woman willing to make the ultimate sacrifice to save Trintignant's character, a man undeserving of her affection. Some TV work the actress did in this decade deserves to be noted as well. She reprised the role of Thérèse Desqueyroux in La fin de la nuit (1966), a dark and crepuscular adaptation of the Mauriac novel of the same name. This sequel follows Thérèse as she relocates to Paris where she has nothing to do but waiting for death to come. The TV play La forêt noire (1968), a fictionalized retelling of the relationship between Brahms and the Schumanns, featured another remarkable Riva performance, and so did Caterina (1963), which saw her taking on the role of Caterina Cornaro.

Going into the 70's and 80's, it wasn't easy for Emmanuelle to keep replicating the impact of her early performances and, while she always played leading roles in her native France, the majority of her movies didn't have a great international resonance. Misguided productions like Fernando Arrabal's I Will Walk Like a Crazy Horse (1973) proved totally unworthy of her talent. Like her contemporaries Delphine Seyrig, Bernadette Lafont, Bulle Ogier and Edith Scob, she liked to pick alternative, anti-mainstream projects, stating that she had no interest in doing things that had already been done before. In this period, she declined countless roles because she found them too traditional and, as a direct consequence of this, most directors stopped making her any more offers. Between 1982 and 1983 she was served with another couple of meaty parts to sink her teeth into. The first was in Marco Bellocchio's The Eyes, the Mouth (1982) (an underrated sequel of sorts to Fists in the Pocket (1965)) as the mother of Lou Castel, here taking on the role of Giovanni, the actor who had supposedly played Alessandro in the classic movie. The second was in Philippe Garrel's poignant Liberté, la nuit (1984) where she was paired with the director's father, the glorious actor, Maurice Garrel. In the subsequent years, Emmanuelle always found work in respectable productions, with the great director occasionally calling her for a project of superior quality (like Krzysztof Kieslowski's Three Colors: Blue (1993)) but the great roles seemed to be way behind her by now. In 2008, she had a nice cameo in Un homme et son chien (2008), a French remake of Umberto D. (1952) which reunited her with her "Léon Morin, prêtre" co-star, Jean-Paul Belmondo. Riva briefly appears in the movie as a gentle lady who meets Belmondo's character -not coincidentally- in a church. She was soon to enjoy, however, an incredible and unforeseen career renaissance.

In 2010, Emmanuelle was cast in Michael Haneke's latest movie, Amour (2012). The script managed as well to get Jean-Louis Trintignant out of retirement and frequent Haneke collaborator Isabelle Huppert also got on board for the ride. Haneke had written the script with precisely Trintignant in mind, but hadn't already thought of a specific actress to play the leading female role. The director had greatly admired Emmanuelle's performance in "Hiroshima Mon Amour", but wasn't much familiar with her subsequent work. Still, a recent photo of hers lead him to think that she would have been believable as Trintignant's wife and decided to audition her along with a few other actresses her age. It soon became obvious that she was the best choice in the world. The Austrian director's most recent masterpiece follows Georges (Trintignant) and Anne (Riva), a long time married couple whose life changes drastically when she suffers a stroke. An incredibly deep reflection about the two most important components of life, love and death, Haneke's heartbreaking movie took Cannes film festival by storm, making obvious from the day it was screened that no other film had the slightest possibility to win the Golden Palm. A fundamental part of "Amour"'s success were of course the immense central performances of its two leads. Jury president Nanni Moretti would have liked to give "Amour" the main festival prize along with top acting honors for its two veteran stars, but unfortunately a festival rule forbids to give any other major award to the Golden Palm winner. Moretti was displeased by this, but he still managed to find a way to recognize Trintignant and Riva's work. Although the Best Actor Award went to Mads Mikkelsen for Jagten (2012) and the Best Actress Award was given to Cosmina Stratan and Cristina Flutur for Dupa dealuri (2012), the Golden Palm which the director was awarded was given alongside a special mention to the film's leads for their indispensable work. All three were invited on the stage to make an acceptance speech: it was one of the highest honors a thespian could ever dream of. Although Haneke remains the only official recipient of the Palm, Riva and Trintignant were, in spirit, the big acting winners of the 65th edition of the prestigious film festival. But the love for "Amour" wasn't to end here. After it amazed the audience at Toronto film festival, it became clear that the film would have done this over and over while getting screened all around the globe. Further accolades for the movie came at the end of November, when it scored an impressive four wins at the European Film Awards (Picture, Director, Actor and Actress). In the following weeks, Emmanuelle also racked up a good share of critic awards in America, including wins from major groups such as the National Society of Film Critics. On Oscar nominations day, Emmanuelle's performance was recognized along with the movie, its director and its screenplay. Having traveled to New York to attend the 2013 National Board of Review awards (where Amour had been named "Best Foreign Language Film"), Emmanuelle was still there when, bright and early, her room neighbors' jubilation cheers told her that she had been nominated. In great humbleness, she stated that she didn't expect it because 'there's plenty of talented people everywhere'. Shortly after, she also added a BAFTA to her mantle. After her triumph, Culture and communication Minister Aurélie Filippetti complimented Emmanuelle on her charisma and on the quality of her performance and stated that she would have defended France's colors at the upcoming Oscars. Emmanuelle's next appointment was with an overdue first César. After receiving a well-deserved standing ovation, she made a very beautiful and moving speech, quoting Von Kleist and paying homage to Maurice Garrel. A couple of days later she attended the Oscars and eventually failed to win the award, but this couldn't change the fact that she had made history already. Having always been in possession of one of cinema's most expressive faces, being equally effective with her physical language and having displayed unsurpassable courage and honesty in portraying the deterioration of Anne's body and soul, Emmanuelle gave a performance that went beyond every linguistic barrier and strongly touched and affected everyone who saw it. Her stunning work is for the ages.

Having hit such a high note near the end of her film career, it seems only natural that Emmanuelle did the same thing on the Parisian stage shortly after, scoring a new triumph in Didier Bezace's production of Marguerite Duras' play "Savannah Bay", which marked her theatrical return after a 13 years absence. Acting a text of the celebrated author who had penned the movie which had simultaneously given her immediate fame and screen immortality was the most inspired way to bring her exceptional career to full circle. Duras had written the part (originally performed by Madeleine Renaud) on the condition that only an actress no longer in the spring of youth would have played it: disregarding this wish would have been a mistake, but it must be added that no other actress in the same age range and associated with the author could have been an equally perfect choice. Wearing that slightly absent look loaded with a mixture of vulnerability and melancholy that only she can do so effectively, the actress reached- for the few, privileged ones who witnessed this new achievement- some basically unmatchable levels of heartbreak, repeating several times the words 'mon amour' to such an involving and powerful effect no one else could have produced. The actress stated that she would have probably refused to ever return to the stage hadn't she been offered this part. And her choice was, once again, a winning one. Emmanuelle kept working regularly for the next two years-- shooting films and doing poetry recitals all around Europe-- until she died on the 27 January 2017 after a secret battle with cancer. As profoundly devastating as the news of this artistic and human loss were, the world had to salute with utmost admiration a woman who, true to her formidable spirit, always lived a life that was determined by the choices she wanted.

Now, considering that she won her first audience by acting one scene from "On ne badine pas avec l'Amour" in front of her future mentor, got her international consecration by playing the leading role in "Hiroshima Mon Amour" and rose from her ashes with her superlative work in "Amour", one can conclude that the word Amour is most definitely a good luck charm to Emmanuelle Riva.

- IMDb Mini Biography By: Riccardo Simonazzi

Trade Mark (6)

Naturalistic acting style
Often played mothers and grandmothers in the second half of her career
Often appears in alternative, anti-mainstream movies
Heartbreaking performances
Heroines whose inner process is followed thoroughly during a movie, often through their own voice-over
Excellent diction

Trivia (56)

She was also a poet.
Her paternal grandfather was Italian, and her other grandparents were French. Her grandfather, Alfred (Alfredo) Riva (b.1877), was born in Monvalle, Lombardy, on the side of Lake Maggiore. Her other grandparents came from Vosges families (Nourdin, Hacquard, Hollard).
Favourite movies included L'Avventura (1960), Wild Strawberries (1957), Jules and Jim (1962), La Notte (1961), Electra (1962), Over There, 1914-18 (1963).
Hobbies included traveling, cooking, biking and collecting exotic items.
Both Emmanuelle and her Amour (2012) co-star, Jean-Louis Trintignant, were part of Krzysztof Kieslowski's Three Colors Trilogy. She appeared in Three Colors: Blue (1993) while he played the leading male role in Three Colors: Red (1994).
For her performance in Amour (2012), she became the oldest Oscar nominee for Best Actress at age 85. Coincidentally, her fellow nominee Quvenzhané Wallis became the youngest one ever at 9 for her performance in Beasts of the Southern Wild (2012).
She was very good friends with singer and actor Jacques Brel. The two appeared in a movie together, Les risques du métier (1967).
Is one of 13 French actresses to have received an Academy Award nomination. The others in chronological order are: Claudette Colbert, Colette Marchand, Leslie Caron, Simone Signoret, Anouk Aimée, Isabelle Adjani, Marie-Christine Barrault, Catherine Deneuve, Juliette Binoche, Marion Cotillard, Bérénice Bejo and Isabelle Huppert.
Both her BAFTA nominations were for movies which had the word Amour in the title: Hiroshima Mon Amour (1959) and Amour (2012).
Georges Franju wanted Emmanuelle to play the role of Lady Beltham in his long-craved version of Fantomas, but he eventually died before the project could see the light of the day. Emmanuelle stated that not playing that part is one of her big regrets.
Enjoyed to do film and stage work in equal measure.
Jean-Pierre Melville stated that he wouldn't have done Léon Morin, Priest (1961) had Emmanuelle or Jean-Paul Belmondo declined their roles.
She slept in her dressing room during the whole shooting of Amour (2012).
In 2012 she became the eleventh recipient of the Prix Marguerite Duras for her body of work.
Later in life, she kept in shape through dancing and walking over six miles a day. During the shooting of Amour (2012), she used to turn on her radio at the end of her daily work and do some Andalusian dances.
Used to practice archery in her youth. She took an interest in the sport by watching a Japanese sensei when she was in Hiroshima to shoot Hiroshima Mon Amour (1959). She later bought a bow and arrows to take lessons in Paris.
She was a skilled photographer. When she was in Japan to shoot Hiroshima Mon Amour (1959), she bought a Ricohflex and began to take photos of people. All the material she took was eventually published in a book called "Tu n'as rien vu à Hiroshima".
Both Emmanuelle and Delphine Seyrig played an unnamed heroine nicknamed 'Elle' in a movie penned by Marguerite Duras: Hiroshima Mon Amour (1959) and La musica (1967) respectively.
She unanimously won the "Prix du syndicat de la critique" for Best Actress in 1966 (1965/1966 season) for her stage performance in "L'Opéra du monde".
She lived in the Latin Quarter of Paris.
Mother Jeanne Fernande Nourdin (b. 1908) was a seamstress. Father René Alfred (Alfredo) Riva (b. 1906) was a sign painter.
She was one of the two French actresses who starred in French-language films to be nominated for a BAFTA award for Best Leading Actress in 2013 with her performance in Amour (2012), the other was Marion Cotillard for her performance in Rust and Bone (2012). It was the first time in the history of BAFTA that two French-language performances were nominated for the Best Actress category.
She and Marion Cotillard are the only actors to win both a BAFTA and a César award for the same performance. Cotillard won both awards in 2008 for La Vie en Rose (2007) and Riva won in 2013 for Amour (2012).
She won the Best Actress Award at Acapulco Film Festival for her performance in Therese (1962).
She won the "Prix du Cinéma Français" for her film work.
She was awarded the "Victoire du Cinéma Français" for her performance in Therese (1962).
She was originally slated to star in the U.S. premiere of Didier Bezace's stage production of 'Savannah Bay' at the Kennedy Center, but eventually backed out of the project due to medical recommendations that prevented her from traveling overseas. Geneviève Mnich replaced her.
After the success of Hiroshima Mon Amour (1959), she was offered many roles in the English language, but, since she didn't speak it, she couldn't perform them.
Both Emmanuelle and Anouk Aimée received an Oscar nomination for Best Actress for playing opposite Jean-Louis Trintignant: coincidentally, both actresses were playing a character named Anne.
She's one of only three French actresses to win the Best Actress BAFTA since the integration of Best British Actress and Best Foreign Actress to one category: the other two are Stéphane Audran for Just Before Nightfall (1971) and The Discreet Charm of the Bourgeoisie (1972) (in 1974) and Marion Cotillard in La Vie en Rose (2007) (in 2008).
When initially approached to direct Mademoiselle (1966), Georges Franju introduced her to screenwriter Jean Genet as his ideal pick for the title role. Genet was very enthusiastic about the idea and when Franju mentioned fellow candidate Romy Schneider, the writer stated: 'You've shown me a jewel, I won't swop it against a false pearl, and German at that'. This collaboration never saw the day and Franju later remarked that he would have made the movie straight away had he agreed to Romy's casting, but he had also been partial to Emmanuelle. The film was eventually directed by Tony Richardson and starred Jeanne Moreau.
Before the start of the shooting of Hiroshima Mon Amour (1959), she would wait for Marguerite Duras to pass on to her Alain Resnais's instructions about how to play her role. The first message Resnais sent her was that she had to shave her legs for the part.
She was one of Georges Franju's three muses, the other two being Edith Scob and Francine Bergé.
She starred in 3 movies that were nominated for the Best Picture César: Three Colors: Blue (1993), Vénus beauté (institut) (1999) and Amour (2012). The last two won.
Her friends nicknamed her 'Hiroshima' after her star-making movie, Hiroshima Mon Amour (1959).
Loved ballet and classical music.
One of her professional regrets was not having been offered enough comedy roles in her career, largely because of her strict association with the tragic heroine of Hiroshima Mon Amour (1959).
Back in the 60's, she mentioned Charlotte Corday, Tess of the D'Urbervilles and Mrs. Dalloway as dream roles she would have liked to play.
When she was Oscar-nominated for her portrayal of Anne in Michael Haneke's Amour (2012), one of her fellow nominees was Naomi Watts for The Impossible (2012). Watts had previously played Ann in Haneke's Funny Games (2007) (the director uses variations of the same name for all his female protagonists).
She's been credited as either Emmanuelle or Emmanuèle Riva through most of her film career. Within the years, she signed autographs using both names as well.
Didn't own a TV set, a computer nor a cellphone.
Michael Haneke stated that, had she still been alive, he would have likely cast his frequent collaborator Annie Girardot as the female lead in Amour (2012), but he also added that- thinking retrospectively about the whole thing- it's unlikely that she would have been as believable as Emmanuelle as the screen wife of Jean-Louis Trintignant.
When she visited New York for the first time in her life in January 2012, she asked Sony executives if someone could bring her to see the Statue of Liberty.
Her first acting experience was in a school production of Antigone on her father's wishes (he otherwise never approved of her acting dreams).
She was awarded the 2015 Prix Henri-Langlois for her body of work [30 March 2015].
Autobiography 'C'est délit-cieux! : Entrer dans la confidence' was published on the 30 October 2014.
Her poems were released in three collections: 'Juste derrière le sifflet des trains' (1969), 'Le Feu des miroirs' (1975) and 'L'Otage du désir' (1982).
For her performance in Amour (2012), she was one of five French actresses to have won the NSFC (National Society of Film Critics) Award for Best Actress (in 2013) . The other four are: Sylvie in La vieille dame indigne (1965) (in 1967), Isabelle Adjani in The Story of Adele H (1975) (in 1975), Marion Cotillard in Deux jours, une nuit (2014) and The Immigrant (2013) (in 2015), and Isabelle Huppert in Elle (2016) and L'avenir (2016) (in 2017).
She won the 2014 Prix Beaumarchais for her stage performance in "Savannah Bay".
Was the 6th French actress (out of 7) to be nominated for an Academy Award for a French-language performance. The others in chronological order are Anouk Aimée, Isabelle Adjani, Marie-Christine Barrault, Catherine Deneuve, Marion Cotillard and Isabelle Huppert.
During her last official visit to her native Vosges in September 2016 (to attend a screening of the documentary "Emmanuelle Riva, c'est ton nom" at the Epinal Cinés Palace), she was approached by director Michèle Morette to play a role in the TV movie "Hortense et les six clefs", scheduled for 2018. She accepted and even started to rehearse a few scenes. Morette stated that the news of Emmanuelle's death gave her great grief.
She gives her name to a square (located near her family's farm) in her native town of Chenimenil. She originally declined the honor, stating (in September 2016) that she found it pretentious, but later changed her mind as she said to feel an always stronger emotional connection to her native Vosges.
Died the same day as Eléonore Hirt.
Her memorial service was held at the Saint-Germain de Charonne Church in the 20th arrondissement of Paris on Saturday 4 February 2017 at 11.00 a.m. She was later buried at the Charonne cemetery.
Owned until her death her family house in Remiremont, which she last visited in October 2016. Always stayed in great terms with her neighbors of over 40 years, Claudine and Michel Jeanpierre.
Has two literary roles in common with Nicole Garcia: Thérese Desqueyroux, which she portrayed in the cinematic feature Therese (1962) and its TV sequel La fin de la nuit (1966) (and Garcia took on in La fin de la nuit (2015), a more recent TV adaptation of the second novel) and Barny in Léon Morin, Priest (1961), a role later played by Garcia in La grande collection (1991). The two actresses worked together in Tu honoreras ta mère et ta mère (2012).

Personal Quotes (23)

I've never wanted to be a star, never. I tried to do things that pleased me, and I needed to do various things. It is dreadful to see actors reproducing the same image constantly.
I wanted to live another life and many lives at once. Acting makes you live plenty of lives.
I refused as many offers as I accepted. I refused commercial roles. But it was wrong, I have been too extreme, and I don't say it was good.
If I hadn't succeeded, I'd have died. I didn't have another second to lose. I had dozens of marriage proposals, I refused them all. Why would I tie myself down with a husband and children? It's very difficult to make a couple succeed. Are you married? Do you have children?
[on being Oscar-nominated for Amour (2012)] I am truly happy, touched, and honored to receive, today in New York, a nomination for the role of Anne in Amour by Michael Haneke. For me, it is an immense gift, at this stage of my life, to be chosen by my sisters and brothers, for what I do as an actress. I never thought, while working throughout the years in Europe and France, that one day, i would cross the Atlantic Ocean, come to the United States, and be nominated. It is quite surreal for me. Shooting Amour with Michael Haneke was a complete joy for me, as I felt an absolute trust in him and we were in complete synch. Michael is the very music of his own film.
[on working with Michael Haneke on the set of Amour (2012)] I understood right away. No sentimentality. So that becomes really very interesting to perform. Because there is a restraint, a distance that is a pleasure to experience.
[on the shooting of Hiroshima Mon Amour (1959)] I can still feel the happiness of those days, it hasn't left me. It was so extraordinary to live that adventure.
[on her character in Hiroshima Mon Amour (1959)] I was very pleased with the role because it will always be modern. Her freedom exists naturally within her.
[on Marguerite Duras] Marguerite has her own rhythm. There's a precise, childlike quality in her writing that you can't ignore. You can't escape it, but it's actually a pleasure. Not long ago, I was listening to some old interviews and I heard Alain Robbe-Grillet talking about Hiroshima. He said that Marguerite Duras had sent out cassettes of the text. I must have listened to them -and there was nothing left for me to do but mimic her. And he laughed and laughed. Well, I never heard these cassettes. It's totally untrue. And I'm very glad to have the chance to tell you this! I didn't have to imitate. That doesn't interest me at all. I like to create.
[on working with Eiji Okada in Hiroshima Mon Amour (1959)] He learned all his lines phonetically... His work was just amazing and he has a magnificent presence in the film.
[on being directed by Alain Resnais in Hiroshima Mon Amour (1959)] [He] would come up close, talk with each of us intimately, and quietly tell us what he hoped to achieve in the scene.
[on re-watching her Hiroshima Mon Amour (1959) performance in 2014] It's as though I were watching somebody else. We each have many lives. And Hiroshima is in another life for me.
[on the death of Alain Resnais] I was really stunned. I'd grown to believe that he would live forever.
[on starring in Hiroshima Mon Amour (1959) and Amour (2012)] For me, these were the two illuminating points in my life.
[on her movies Hiroshima Mon Amour (1959) and Amour (2012)] In both cases I knew that I was ripe for the role, which arrived exactly at the right time. I would have lost something immense if either role had escaped me. But I got them both, and that is a great source of happiness.
[making a comparison between Michael Haneke and Krzysztof Kieslowski] I think Haneke is more happy, more smiley. Kieslowski did not strike me as a very happy man.
I'm not cut out for domestic life. I was afraid of disappointing the other . . . I was a little girl from the provinces, and I started my career late. If I had married, my life as an actor would have ended. If you have children, you have to look after them. People want you to get married and have children. They want to enlist you, for you to be in the norms. Acting got under my skin, this way of life. My profession keeps me alive. They should understand that.
[on being offered the leading role in the Marguerite Duras play "Savannah Bay" after the success of Amour (2012)] It was the peak of the miracle. I thought I didn't want to do theatre any more, because when you're old it's as perilous as walking a tightrope. You have to be physically fit. You have to have a good memory. But I couldn't say no.
[on acting in old age] It's as if a distillation of what is essential seeps out of us, a sort of intimate solution that we share with the audience.
One is very happy when one surpasses the director's expectations.
Our little cinema and theatre projects are tiny, tiny, compared to the enormous threats to the world. But one continues one's life, nonetheless. I thank heaven for the child that's still in me. I love freshness, the surprise of waking up alive every morning, the wonderment of simple things. This still exists, despite our stubborn, insolent attempts to destroy this beautiful, beautiful planet.
[on the themes of Amour (2012)] The subject is important to all of us. It spares no one. Some people couldn't watch the film because they feared it would be too traumatic. Others said it gave them strength. I received mountains of letters.
[on working with Marguerite Duras] She was like a ball of fire with the softness of ashes. She had that about her: burning, death, love - which is always there, in Duras. Even in the most extreme case of absolute destruction, love grows like a plant from the earth.

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