সুপারিশকৃত লিন্ক: জুন ২০২৪

মুক্তাঙ্গন-এ উপরোক্ত শিরোনামের নিয়মিত এই সিরিজটিতে থাকছে দেশী বিদেশী পত্রপত্রিকা, ব্লগ ও গবেষণাপত্র থেকে পাঠক সুপারিশকৃত ওয়েবলিন্কের তালিকা। কী ধরণের বিষয়বস্তুর উপর লিন্ক সুপারিশ করা যাবে তার কোনো নির্দিষ্ট নিয়ম, মানদণ্ড বা সময়কাল নেই। পুরো ইন্টারনেট থেকে যা কিছু গুরত্বপূর্ণ, জরুরি, মজার বা আগ্রহোদ্দীপক মনে করবেন পাঠকরা, তা-ই তাঁরা মন্তব্য আকারে উল্লেখ করতে পারেন এখানে। ধন্যবাদ।

আজকের লিন্ক

এখানে থাকছে দেশী বিদেশী পত্রপত্রিকা, ব্লগ ও গবেষণাপত্র থেকে পাঠক সুপারিশকৃত ওয়েবলিন্কের তালিকা। পুরো ইন্টারনেট থেকে যা কিছু গুরত্বপূর্ণ, জরুরি, মজার বা আগ্রহোদ্দীপক মনে করবেন পাঠকরা, তা-ই সুপারিশ করুন এখানে। ধন্যবাদ।

৬ comments

  1. মাসুদ করিম - ১ জুন ২০২৪ (৬:৫০ পূর্বাহ্ণ)

    South Africa’s Shock Election Imperils Business-Driven Reforms
    https://www.dailymaverick.co.za/article/2024-05-31-south-africas-shock-election-imperils-business-driven-reforms/?utm_term=Autofeed&utm_medium=Social&utm_source=Twitter#Echobox=1717215226

    South Africa’s business community has been shaken by the country’s shock election result, which could see its partnership with the government crumble and a populist wave sweep aside belated programs to fix everything from power shortages to congested ports.

    The African National Congress’s dismal performance in the May 29 vote has upended investor forecasts of business as usual as the ruling party has effectively been left with a binary choice: ally with populist parties and largely jettison President Cyril Ramaphosa’s program of economic reform; or seek the support of the centrist Democratic Alliance, its biggest political foe over the past two decades.

    Ramaphosa’s allies are already pushing him to partner with the business-friendly DA. But the ANC could be drawn to the leftist Economic Freedom Fighters and the uMkhonto weSizwe Party — led by its former youth and national leaders, respectively — which include many disillusioned former ANC members and trade on its history.

    An alliance with either “would create a hurricane, a tsunami in business sentiment,” said Martin Kingston, chairman of the local unit of Rothschild & Co. and chair of the steering committee of Business for South Africa. “We have to have a counterparty with the same level of commitment as the current administration.”

    Sign up here for the twice-weekly Next Africa newsletter

    Business leaders and Ramaphosa’s supporters argue that their partnership is bearing fruit. But little has trickled down to ordinary South Africans, who contend with some of the world’s highest unemployment and crime rates. The economy grew by an average of less than 1% a year over the past decade, and many people have grown disillusioned with the ANC’s failure to fully address apartheid’s legacy of racial inequality, a theme that both the MKP and EFF have exploited.

    The ANC is projected to garner as little as 40.5% of the vote, losing its majority for the first time since the end of apartheid in 1994. Only days before the election, a survey by research group Krutham showed that more than two-thirds of local and foreign fund managers expected the ANC to form an alliance with minor parties that would have little impact on its decision-making.

    That’s no longer an option and investors are concerned it may turn to either or both the EFF and MKP, which is headed by former President Jacob Zuma. The rand has fallen 2% against the dollar since May 29, the most of 16 major currencies monitored by Bloomberg.

    Those parties have called for the nationalization of mines and banks — policies that Nelson Mandela dropped before the advent of democracy in 1994 — and large increases in welfare payments. The EFF has demanded that its deputy leader, Floyd Shivambu, become finance minister, and an alliance with either would likely mean Ramaphosa’s departure.

    “What I am hearing directly from some of the largest international investors, institutions is that there are three veils that they don’t want pierced,” said Colin Coleman, an adjunct professor at Columbia Business School and a former Goldman Sachs partner in South Africa. “First that the president stays in place, second the integrity of the National Treasury and the fiscal monetary authorities is maintained, and thirdly that the institutions of the constitution remain intact.”

    Since taking power in 2018, Ramaphosa has forged a close alliance with the leaders of the country’s biggest companies. That’s led to an influx in investment into electricity generation that is helping ease crippling power cuts, the adoption of a blueprint that could boost private participation in the near-collapsed freight rail and port networks and amendments to immigration legislation that could ease a chronic skills shortage.

    Ramaphosa has “been a critical role player and leader in overseeing this process of structural reform, the head of driving the partnership,” Kingston said. “It would be very risky to substitute him with anyone who doesn’t have the credibility and confidence of the market.”

    With many of the initiatives yet to be implemented they’ve yet to meaningfully change the country’s economic trajectory and could easily be reversed.

    Chief executives of South African companies including Sibanye Stillwater Ltd., Sanlam Ltd. and Sasol Ltd. have worked within the partnership as have leaders of the local units of Anglo American Plc and Toyota Motor Corp.

    Bloomberg Terminal clients can click on ELEC ZA for more on South Africa’s elections.

    “We are essentially where we are in terms of infrastructure collapse and state company failures because of an approach which has demonized business, and did not see it as a partner,” said Khulekani Mathe, chief executive officer-designate at Business Unity South Africa. “We need a government that espouses policies that recognize the role of the private sector, that’s not anti-business. We would hope that there would be a set of policy positions that the ANC would not be easily willing to give up.”

  2. মাসুদ করিম - ৩ জুন ২০২৪ (৪:১৮ পূর্বাহ্ণ)

    Trouble brewing for tea as costs outpace prices
    https://today.thefinancialexpress.com.bd/first-page/trouble-brewing-for-tea-as-costs-outpace-prices-1717353512

    Despite record production in 2023, local tea estates are facing financial strain as a number of commercial tea growers have been forced to shutter businesses in the face of recurring losses.

    The cause of this crisis is a perfect storm: production costs have risen steadily, up 11.71 per cent per kilogram since 2018, according to official data. This trend coincides with a dramatic decline in auction prices, which have plummeted 34.56 per cent over the past five years.

    “Since 2018, tea has been consistently sold at auction below production costs,” said Kamran Tanvirur Rahman, chairman of the Bangladesh Tea Association.

    “Prices for essential foodstuffs like rice, pulses, ginger and garlic have all risen in recent years. However, tea prices have not kept pace, instead experiencing a decrease,” Mr Rahman, head of the tea estate owners’ association, told The Financial Express.

    According to him, the consequences of this situation are “severe”. Dilkusha Tea Estate in Moulvibazar district exemplifies those challenges.

    The estate was forced to lay off workers two weeks ago due to ongoing losses. Industry insiders fear other estates may face a similar fate unless auction prices improve.

    The country currently has 168 commercial tea estates and gardens spread across eight districts, employing roughly 150,000 workers.

    These estates and gardens are required to sell at least 75 per cent of their production through open auctions regulated by the Bangladesh Tea Board. There are three auction centres located in Chattogram, Sreemangal and Panchagarh.

    Only a small number of tea estates — some 10-12 gardens — have their own packaging facilities, allowing them to bypass auctions for 25 per cent of their produce and sell it directly to consumers. The vast majority of estates rely solely on auction sales.

    Local tea estates achieved a record-breaking production of 102.91 million kilograms in 2023, maintaining an upward trend since 2001. Domestic tea consumption sits at roughly 92.15 million kg, leaving a surplus.

    “At least 10-12 million kilograms of tea are being sold to the market bypassing auctions,” said Tea Association Chairman Kamran Tanvirur Rahman.

    However, Mr Rahman was concerned about “a huge quantity of very low-quality tea” being smuggled into Bangladesh from a neighbouring country, suggesting it may be impacting auction prices.

    The Tea Association attributes rising production costs to factors like increased labour wages and surging input prices. Fertilisers, fuel and electricity are among the key contributors to this cost increase.

    The association estimates a 159 per cent rise in labour wages over the past decade.

    Meanwhile, the total production cost has climbed by 42 per cent. Conversely, the average auction price has fallen by a concerning 34 per cent compared to 2018 levels.

    Adding to the industry’s woes, Deundi Tea Company Limited Managing Director M Wahidul Haque pointed at the growing threat posed by coffee consumption.

    “Coffee is rapidly becoming a major competitor for tea in the local market, particularly among younger demographics,” he added.

    The country’s tea exports, once a major source of foreign currency, are also not performing well.

    While the country exported 12.92 million kg and 13.65 million kg of tea in 2001 and 2002, respectively, exports have not surpassed 2.66 million kg after 2009.

    The country has transitioned from a tea exporter to an importer in recent years.

    Sector people admitted the rising domestic demand as a contributing factor, but believe other issues are also at play for declining exports.

    Major General Md Ashraful Islam, chairman of the Bangladesh Tea Board, advocated for quality improvement and effective branding to bolster tea exports.

    Tea estate owners downplayed the tea import development, suggesting the import volume is negligible and does not pose a serious threat.

    Tea cultivation in Bangladesh started during British rule. Although Sylhet division is currently the most famous for tea cultivation, the first initiative was taken in Chattogram between 1828 and 1840.

    As both attempts failed, in 1854, or to popular belief in 1847, the first commercial tea garden of Bangladesh, ‘Malnichhara Tea Garden,’ was established near current Airport Road in Sylhet.

  3. মাসুদ করিম - ১০ জুন ২০২৪ (৩:৫৭ পূর্বাহ্ণ)

    Restaurant salad, six street foods found risky for public health
    https://today.thefinancialexpress.com.bd/last-page/restaurant-salad-six-street-foods-found-risky-for-public-health-1717958620

    Ready-to-eat salad in restaurants of the capital is most risky for public health, as presence of hazardous pathogenic bacteria has been found in the food items, a study has revealed.

    Besides, six street foods also have high levels of Escherichia coli (e-coli), salmonella spp, and vibrio spp bacteria, including chatpati, chhola-muri and sugarcane juice, according to a research by the Bangladesh Food Safety Authority (BFSA).

    The study styled “Prevalence of microbial hazards in street food and ready-to-eat salad items in restaurant and their probable risk analysis” was disclosed at the BFSA-funded research dissemination seminar at its auditorium in the capital on Sunday.

    BFSA Chairman Md Zakaria presided over the function while AHM Safiquzzaman, head of the Directorate of National Consumers’ Rights Protection (DNCRP), and Dr Mohammad Mustafa, a member of the BFSA, spoke, among others.

    These bacteria are known to cause various stomach diseases, including diarrhoea.

    Md Latiful Bari, head of the Food Nutrition and Agriculture Research Laboratory under the Centre of Advance Research of Dhaka University and also head of the research team, shared this information at the seminar.

    The research focused on street foods like chatpati, chhola-muri (chickpea and puffed rice), sandwiches, sugarcane juice, aloe vera syrup, and ready-to-eat salad in the city restaurants.

    A total of 450 samples of these street foods and salads were tested after being collected from 37 zones under Dhaka north and south city corporations.

    The study revealed alarming bacterial counts, with an average of 72 million E-coli, 750 salmonella, and 750 Vibrio bacteria found per plate of chholamuri.

    Chatpati contained 7.4 million E-coli, 2,000 Salmonella, and 3.0 million Vibrio bacteria. Sandwiches had 2,000 E-coli, 2000 Salmonella, and 160 Vibrio bacteria.

    Sugarcane juice showed 65,000 E-coli, 17,000 Salmonella and 13,000 Vibrio bacteria. Aloe vera syrup had 56,000 E-coli, 18,000 Salmonella, and 14,000 Vibrio bacteria.

    Salad contained 1,800 E-coli, 510 Salmonella, and 300 Vibrio bacteria, the report reads.

    The research also indicated that out of every 10,000 people consuming these street foods, two people fell sick due to E-coli, four due to Salmonella, and one due to Vibrio.

    Dr Latiful explained that these germs enter the food due to contaminated water, dirty towels, unclean hands and dusty environments.

    The lack of health and sanitation awareness among vendors further exacerbates the problem.

    He stressed the need for training and daily monitoring of vendors to ensure safety for street foods.

    Another study on “Use of Artificial Fruit Ripening Agents and Development of Fruit Ripening Chamber” was also presented by Prof Dr Abul Hasnat M Solaiman of the Department of Horticulture at Sher-e-Bangla Agricultural University.

    The report mainly focuses on use of artificial agents scientifically to ripen fruits for commercial purposes through lessening post-harvest losses and wastage.

  4. মাসুদ করিম - ১০ জুন ২০২৪ (৫:৪৪ অপরাহ্ণ)

    Venomous sea snakes suffering from ‘cold shock’ wash up on SA beaches
    https://www.dailymaverick.co.za/article/2024-06-10-venomous-sea-snakes-suffering-from-cold-shock-wash-up-on-sa-beaches/

    Rare venomous yellow-bellied sea snakes have been washing up on Eastern Cape and Garden Route beaches, prompting marine experts to caution against touching these deadly creatures and advising to contact aquariums for assistance.

    In the past year, six venomous yellow-­bellied sea snakes have washed up on beaches in the Eastern Cape and along the Garden Route.

    Brett Glasby, the marine wildlife programme management coordinator for the Two Oceans Aquarium Foundation, said seeing these snakes is rare and he has never spotted one himself, except when he was called out to help where one was found.

    “It is not a common thing for them to wash up. They like warm water and we find them in the Agulhas current mostly,” Glasby said.

    But, he added, strong sea currents and bad weather sometimes push these snakes into cold currents where they sustain “cold shock” and are not able to swim further.

    “I only know of a handful that have washed up in the last few years. I was lucky to rescue one. They don’t do well in captivity so I have released it again,” Glasby said. “If you see one you are very lucky. It is a rare event.”

    If anybody spots a sea snake on the beach, it should be treated with respect and it is best to notify the nearest aquarium. Glasby said neither humans nor dogs should approach it.

    “It would be the worst thing for the snake to put it back in the water. You will sign its death warrant if you put it back in the water,” he added.

    When the aquarium gets one of these snakes, the staff have to warm it up very slowly over a few days to treat the cold shock.

    “Normally, they will also be very dehydrated. They can’t process salt when they wash up so we bathe them in fresh water,” he added.

    Glasby also emphasised that these are venomous snakes and their neurotoxic venom can be lethal. “Keep your distance from it,” he advised.

    The yellow-bellied sea snakes grow about 1m long and can get fairly thick as they age.

    “It is an open-ocean species. Unlike other sea snakes, it doesn’t live in a coral reef. It lives in the open ocean. They rest just underneath the flotsam and prey on other fish seeking shelter,” he said.

    “I have had more people see puffadders and cobras in the sea than sea snakes,” he added. “These are not aggressive snakes.”

    Cold shock spike

    Glasby said the aquarium has had to treat more than 500 turtle hatchlings for cold shock this year.

    Gqeberha-based herpetologist Dr Werner Conradie said there are more snakes than usual washing up on the beach but they are not uncommon.

    He said the strong sea currents and storm surges owing to bad weather sometimes wash up these creatures.

    Two were found on beaches in Nature’s Valley and Keurboomstrand, one at Kenton-on-Sea, one each at King’s Beach and Maitlands in Gqeberha, and one in Jeffreys Bay.

    They are poisonous, Conradie added, but only one fatality caused by this species has been recorded worldwide.

    “They have a potent venom that paralyses their prey,” he said.

    Steve Meighan, chairperson of the Western Cape Herpetological Association, said these yellow-bellied sea snakes wash up now and again.

    “They come in on the warmer currents or if they are sick. It is important not to approach them and to contact an expert to remove them,” he said.

    The snake is from the cobra family and so it is important not to touch it or try to help it get back in the water because no antivenin exists for its bite.

    “Weather certainly plays a role when they wash up,” Meighan said.

  5. মাসুদ করিম - ১৭ জুন ২০২৪ (১২:৫৬ অপরাহ্ণ)

    Mexican fashion designer recycles election ads into tote bags
    https://www.reuters.com/business/environment/mexican-fashion-designer-recycles-election-ads-into-tote-bags-2024-06-07/

    Fashion designer Camilo Morales has upcycled everything from plastic shopping sacks to fabric scraps, turning them into bags, clothing and accessories.
    His latest raw material is the vinyl political advertisements for candidates in Mexico’s local, state and federal elections, which took place on Sunday.
    Among the winners was Claudia Sheinbaum, the former Mexico City mayor who will be the nation’s first woman president.

    For the last year, Morales has been pulling down the ubiquitous banners, taking scissors to them and sewing them into tote bags, which he sells for between 100 pesos ($5.44) and 600 pesos ($32.63).
    “This election season was ridiculous,” Morales said. “They started (hanging up ads) so soon.”
    Morales’ cheapest bags, sold under his label Rere, use the all-white background of most ads. The most expensive one is a collage of the heavily shadowed eyes of Clara Brugada, the ruling party candidate set to be the next mayor of Mexico City.

    “I joked that they practically grew on trees,” Morales said. “At night I would take down one ad, and the next day another one was already there to take its place.”
    Under election law, political parties have four days after elections are over to take down their ads, and workers were removing them this week.
    In Mexico City alone, an estimated 10,000 tons of trash were produced by political publicity this season, according Juan Manuel Nunez, a professor at the Iberoamerican University.

    The banners have logos marking them as recyclable, but it was not clear how many were actually being recycled.
    “Although promoted as environmentally friendly, these banners and tarps are usually made from PVC, which can take hundreds of years to break down,” Nunez said.
    Other efforts to find new uses for the ads included a TikTok user who went viral for turning them into dog beds and migrants who have made them into tents.
    ($1 = 18.3900 Mexican pesos)

  6. মাসুদ করিম - ১৯ জুন ২০২৪ (১১:৪২ পূর্বাহ্ণ)

    Anouk Aimée, star of ‘La Dolce Vita’ and ‘A Man and a Woman,’ has died
    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    In a career spanning more than 70 years, she starred in 74 films and TV series and received prestigious awards. Her daughter announced that she had died on Tuesday, June 18, aged 92.

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    Anouk Aimée didn’t like people talking about her age. When we met her in 2012 for the theatrical re-release of Jacques Demy’s Lola, she began the interview with a request: “Please, let’s not talk about my age. It’s of no interest to anyone.” What was unsettling was that, in saying that, she sounded exactly the same as Lola did, 51 years earlier. That’s why it was so charming to hear her say “Lola, she’s me,” in the present tense, as if time had, indeed, not mattered. It was her own vain style, no doubt, this ageless present, and this style spoke volumes about the lady and the way she had steered her ship without much concern for sea spray, people’s opinions or having a career, before passing away on Tuesday, June 18, at the age of 92. “We have the immense sadness of announcing the departure of my mom Anouk Aimée,” wrote her daughter, actress Manuela Papatakis, in a message posted on Instagram. “I was right beside her when she passed away this morning, at her home in Paris.”

    She had started very early, and had thereafter never wanted to stop, except for seven years: The time of a marital interlude in London at the end of the 1960s, with the actor Albert Finney, for whom she had wished to henceforth only play one role, that of a wife, in real life.

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    Born Françoise Dreyfus on April 27, 1932, in Paris, Aimée was the daughter of actors but said she had not been “born into it” at all. Like a wildflower, she had grown up far from the spotlight, being partly raised by her godfather and godmother on a farm. At first, her interest in cinema was so remote that it barely existed. Fate had to force her hand, by setting her on the path of director Henri Calef, who abruptly asked her if she would like to make films. She’d never really known where the “yes” that sprang to her lips had come from.

    For her first film, La Maison sous la mer (“The House under the Sea,” 1946), Françoise was 13, and her character was called Anouk. The first part of her stage name was found with this first step, but the last name remained. The poet and screenwriter Jacques Prévert gave that to her. The story is well known: They met the following year on the set of Marcel Carné’s film La Fleur de l’âge (“The Flower of Youth”), in which she starred with Arletty, Serge Reggiani and Martine Carol. The film remained unfinished: About 20 minutes of it were edited, and only half of it was shot before the team stopped production. What remains are Emile Savitry’s on-set photographs of a ravishing Anouk and the name: “Aimée” – “because everyone loved her,” according to Prévert. You can’t refuse a name like that.

    Inventing oneself

    During the war, Françoise had already stopped calling herself Dreyfus to become Françoise Durand, and thus dodge the yellow star. “Anouk Aimée” was no longer a question of survival, but it still obeyed a vital principle: That of changing one’s name to invent oneself, yet without becoming something else. “I’ve never done a total composition. There’s always a piece of me in my roles,” she said. One of them, however, almost made her drop Anouk in favor of another name: Lola, that of the heroine of Jacques Demy’s film. “I no longer know where Anouk begins and Lola begins, or where Lola ends and Anouk ends,” she would say, even 50 years on.

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    Released the year after La Dolce Vita, Lola (1961) was just as much, if not more, important than Fellini’s film for the cinematic emergence of Anouk Aimée, who was so unique in her nonchalance. Where La Dolce Vita was intoxicated with capturing the silhouette, the angles of a face that had lost its adolescent cheeks, a hand with long fingers wrapped around a cigarette; Lola celebrated the on-screen debut of a body, the likes of which cinema would never again forget: A dance coach in a bodice and fishnet tights, as untouched by vulgarity as Botticelli’s nude Venus. It was impossible to imagine, yet Demy had done it. Aimée had simply trusted him, and didn’t try to explain the miracle. She simply observed: “There are people who can do anything. Women who say ‘Oh shit, you’re pissing me off.’ Some shock, others don’t. Lola can do it without shocking, be rude without being noticed, because there’s no vulgarity to her.”

    After Demy, Aimée seemed to bring a bit of Lola to all her other roles: A kind of state of grace, which allowed her to do and play everything without ever being touched by crassness or mediocrity. Not that she was ever keen on tempting fate, but the fact that she almost always played elegant women, or that she made elegant women out of everyone she played, was elegance again and again, even – and this was by no means a given – with Jean-Pierre Mocky (Les Dragueurs [The Chasers], the director’s first film, which was released in 1959).

    Her career soon took off internationally. At the age of 17, she starred alongside Trevor Howard in The Golden Salamander (1949), by British director Ronald Neame, the producer of David Lean’s first films. In 1955 and 1956, she appeared in two German films, Ich suche Dich (“I Seek You”), by O.W. Fischer, and Nina, by Rudolf Jugert. In 1959, she played a small role in Le Voyage (The Journey), an American film by Anatole Litvak, who, six years earlier, in Un acte d’amour (Act of Love), had cast the very young Brigitte Bardot, two years Anouk Aimée’s junior.

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    At the age of 16, Catherine Deneuve was biding her time: The blonde Bardot and the brunette Aimée embodied the two faces of French beauty abroad, and it’s hard to imagine them being more different: One was the bikini-clad baby doll, with sun-kissed hair and curves. The other, the mysterious halo of dark hair, alabaster skin, the slim figure, with that single astonishing Hollywood feature of heavy eyelids under thick black eyeliner, à la Monroe.
    On screens the world over

    If Bardot’s international aura owes little to her rare film collaborations outside France, Aimée has had a more lasting impact on screens the world over, where she found some great roles. Fewer, no doubt, than those that her absolute precision in acting and her subtle mastery of restrained emotion deserved. Fellini, unsurprisingly, was one of them: The bored middle-class woman in La Dolce Vita; the deceived but smiling wife in 81⁄2. Later, Bellocchio, for whom she plays the depressed Marta, consumed by dizziness, earned her the Best Actress prize at the Cannes Film Festival in 1980 for A Leap in the Dark.

    She was also courted by the US, where her charms were more unexpected (in 1962, she played a peplum-clad queen for Robert Aldrich and Sergio Leone in Sodom and Gomorrah), or were directly inspired by her aura as a fashion icon, when she played a model in Sidney Lumet’s The Appointment in 1969. She was 37 at the time of the film’s release, and the character aptly sums up her unique status in the cinematic landscape: The mysterious Carla, officially a model, is suspected by her jealous fiancé or husband of working as a prostitute.

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    On the one hand, the icon, the untouchable, the woman that seems to exist only on the glossy paper of elegant magazines. On the other, the public, purchasable, disposable body. Two contradictory – or perhaps complementary – fantasies, that have continued to shape the archetypal image that people in America often have of the beautiful French woman.

    Bardot was already “the” woman in Et Dieu… créa la femme (And God Created Woman, 1956), when 10 years later Aimée became “a” woman for Claude Lelouch, in Un homme et une femme (A Man and a Woman, 1966): A woman, any woman (the stranger Lelouch meets on a beach, who inspires him to make the film), and eventually the one we’ll never forget again – in the romance the film depicts, and from our point of view as enchanted spectators.

    She played Anne Gauthier (the character’s name hardly matters), a film technician, the heroine of the simplest story and one of the world’s most beautiful romance films. It won hearts the world over, amassing awards, the Oscar and Golden Globe for Best Foreign Language Film, and the Golden Globe for Best Actress for Aimée. Although intended as a lover’s hymn for Romy Schneider, this story seemed tailor-made for the great romantic Aimée was then, and will be thereafter.

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    She married three times, to Greek filmmaker Nico Papatakis at 19; to musician Pierre Barouh, whom she met on the set of A Man and a Woman, for which he wrote and performed the famous “chabadabada” melody; and to English actor Albert Finney. She lived with Elie Chouraqui, had an affair with Omar Sharif, her co-star in The Appointment – so many pages of her life that she always kept under a veil of mystery, although she never forbade herself from talking about them.
    A taste for secrecy

    Her most eloquent expression of this was not through her own words, but those of American playwright Albert Ramsdell Gurney, whose Love Letters she – although she was no veteran of the stage – performed tirelessly on stage between 1990 and 2014; first with Bruno Cremer, then Jean-Louis Trintignant, Philippe Noiret, Jacques Weber, Alain Delon, Gérard Depardieu, etc.

    Aimée loved to talk, but she despised words that reveal, decipher and deflower. She was not a woman to spell things out. When questioned about the immense success of A Man and a Woman, she was asked if she had foreseen it. She replied, at the age of 80, yet with adolescent candor: “You never know these things, but you’re happy. I think that’s a good sign.”

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    https://www.lemonde.fr/en/obituaries/article/2024/06/18/anouk-aimee-the-great-french-actress-has-died_6675071_15.html

    On this occasion, as she had always done, she would move forward with the interview counter to any analysis or exegesis, which didn’t seem to have the slightest appeal to her. Gossip had even less appeal; though no more, on the other hand, than political correctness or doubletalk did for her. Simply, she answered each question in keeping with the grammatical form of an answer, and the things she said, sometimes mischievously, raised questions three times over.

    Was it the sign of a taste for the true role of the mystery woman, “a” woman – who could be any woman and yet who remains the woman we never forget? More simply, beyond any role, a taste for secrecy, and for those things that are all the more beautiful for not being explained? Perhaps, even more simply, the secret of that unrivaled, enduring elegance that made her such a unique presence, peaceful in her naturalness, yet somehow drawing the impossible substance of her mystery from her very transparency.

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