Fanny Ardant, born on March 22, 1949, girl of an officer of
cavalry, passes his childhood to travel to Europe. Coed with
Science-Po in the section international relations, it rather
tardily decides to become actress in order to appease her passion
of the theatre.
Whereas it prepares the contest of the Foreign Affairs in London,
it goes up to Paris and is registered during Dramatic art of
Périmony. In 1974, Fanny Ardant is committed with the
Festival of the Marsh to interpret the role of Pauline in "Polyeucte",
then plays the large texts with which it is in love (Root, Montherlant,
Claudel), in rounds.In 1979, the public discovers it thanks
to the televised series "the injuries of lacôte"
of Nina Companeez.
François Truffaut falls under the charm and writes to
him, in 1981, a role to measure in the woman of at side. It
will say of her: “J' had been allured by its large mouth,
its large eyes black, its face in triangle.
I immediately recognized in it qualities that I generally await
protagonists of my films: vitality, enthusiasm, humour, intensity,
but also taste of the secrecy, a savage side, a suspicion of
brutality and, over all, something of vibrant.”
Then, it is with the turn of Alain Resnais to engage it for
the life is a novel, before it does not find François
Truffaut for his ultimate film, Vivement Sunday!, where it reveals
an imagination and a demolition seldom exploited thereafter,
except in the more recent part of its career.
Fanny then puts at the world small Joséphine, conceived
with Truffaut a few months only before the death of the realizer.
It interprets thereafter the role of a pianist for André
Delvaux (Benvenuta) and becomes the duchess of Guermantes in
a love of Swann, of Volker Schlöndorff.
Alain Resnais again requests it for the love with died and Mélo,
in a tragic register which made the “patte” Ardant.
With the theatre, it interprets "the good middle-class
men" (1980), "Miss Julie" where it succeeds Isabelle
Adjani (1983) and "Gift Juan" (1987).
Burbot, tempting indolente balancing itself with sensuality
in the nonentity of Michel Deville, upsets his usual image of
voluntary and impassioned woman.
But the actress then meets too seldom roles agreeing with her
personality, in spite of her services successful in the œuvres
scenario writers such as – already – Ettore Scola
(the family), Costa-gavras (Board of guardians), Margarethe
von Trotta (three sœurs) or Jean-Jacques Andrien (Australia).
In 1991, Double sight, of Peploe Mark, gives the opportunity
to him to turn in English for the first, and it finds Gerard
Depardieu (his partner in love with the woman with at side)
in 1993 for the needs for Colonel Chabert of Yves Angelo.
It is the revival of a career which seemed more to be dedicated
but to one cinema a little too confidential: here as a choucroutée
tenancière of a gay box in Soft pedal, as a Marie de
Guise in Elizabeth, an authoritative middle-class woman in Wished,
according to Guitry, in the role of the woman of a man tormented
by problems of erection in the rout and, very recently, as a
granny professional singer lost in the jungle, the son of the
This among the pleiad of the held roles these last years by
an actress révérée for her serious and
major voice (it was – without singing for as much superb
Maria Callas in the part "Master Class") and for its
proud, limiting port starched, that it can fortunately désengourdir
thanks to a true direction of humour.
With the occasion of the Dinner of Scola, it finds Vittorio
Gassman, with whom it had already turned in Benvenuta, the life
is a novel and the family.
In 2001, it interprets the role of Pebble, the sœur of
the victim, in 8 WOMEN of François Ozon; and, the following
year, one finds it in CALLAS FOREVER of Free Zeffirelli, in
the role of the mythical Diva.