- Jean Rochefort, Cartouche, France, 1961. The titular Robin Hood-esque star was Jean-Paul Belmondo.And when onedrama school pal couldn’t come out to to play, Bebel simply called up another.
- Michael Lonsdale, Les snobs, France, 1962. For the menagerie of monsters in his third film, Jean-Pierre Mocky – the one-man-Nouvelle Vague – wanted all the comiques he could muster, old wave or new. Unfortunately, his old drama school pal was over-scheduled and Lonsdale (still being billed as Michel) took over.
- Jean Rochefort, Les pieds nickelés, France, 1963. The film version of the beloved French comic-books – about threee cheeky con-men, Filochard, Ribouldingue and Croquignol – did not appeal to Marielle. He made it abundantly clear to the producers. “Not only does this shit not amuse me, it does not interest me.” Another busy character player, Michel Galabru, told him didn’t agree. “I’ve done so many shit films, where’s the harm in one more?” And hesuggested Rochefort, who accepted, thinking he could change Croquignol’s lines. He could not.
- Christian Lude, Le voleur, France, 1968. Marielle’s sole regret in his career… Realisateur Louis Malle was keen, then felt it was impossible to have Jean-Paul Belmondo (in the title role) and Marielle in the same movie. Not with their record, since drama school, for mad pranks. “They’ll behave like idiots.”
- Marcello Mastroianni, Un, Deux, Trois. Soleil, France, 1993. To his (possible) surprise, caustic writer-director Bertrand Blier hooked himselfa legend.
- Daniel Auteuil, La fille sur le pont, France, 1988. “We wrote it for Vanessa Paradis and Jean Pierre Marielle,” realisateur Patrice Leconte told me in a kind mail entitled The Casting Waltzes. “He adored the script but he called me to his place to announce he wouldn’t make the film. ‘I don’t want to be another old-timer in Vanessa’s career.’ He was right, of course. [She had already worked with Jean-Paul Belmondo, Bruno Cremer, Alain Delon]. And he added: “Don’t get another wrinklie in my place!’.” Leconte called up the younger Auteuil “and the film became what we always wanted: a love story.” And Marielle took over Auteuil’s role in Tous le matins du monde.
- Yves Montand, IP5: L’ile aux pachydermes, France, 1991. Eternally known as the film (and director) that killed Montand. The first choice of pretentious auteur Jean-Jacques Beineixwas unavailable. “I knew that Yves was in a stage of his career where he was looking to take risks. Few stars are capable of that.And this was, for the most part, such a deglamourised part.He was the easiest actor I ever worked with. Andthe most charming.” Pretentious?Everyone, including his wife, called himcalled him, Montand; JJBB called him Yves. The main title has nothing to do with the film. IP were the initials of his then lover, 5 was for his fifth film.He didn’t make many more.
- Daniel Auteuil, La Fille sur le pont, France, 1998. The knife-thrower recruiting suicidal girls as targets in his act (what do they have to lose?) was written for Marielle. “Merci, mais non merci! I don’t wish to be another old-timer in the career of Vanessa Paradis.” He was 66 and the singer co-star was 26, looking 18, and had already partnered such vets as Jean-Paul Belmondo, Bruno Cremer, Alain Delon, Gérard Depardieu.
- Arno Chevrier, Iznogoud (Iznogoud – Caliph Instead of the Caliph), France, 2004. The Grand Vizir of the Caliph of old Baghdad was co-created in French comicbooks by René Goscinny (of Asterix fame). He also co-wrote the first movie script with auteur Pierre Tcherina in 1972 – “no deal – just for fun” – aimed at every from Vittorio Gassman to Peter Sellers. With Dufilho or Jean-Pierre Marielle in the mix for Dilat Laraht. The 2004 version aimed much lower.
Birth year: Death year: Other name: Casting Calls: 9