French Actor Alain Delon Dies Aged 88

French actor Alain Delon attends a TV show on French channel TF1, in Paris, on November 24, 1981. (AFP)
French actor Alain Delon attends a TV show on French channel TF1, in Paris, on November 24, 1981. (AFP)
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French Actor Alain Delon Dies Aged 88

French actor Alain Delon attends a TV show on French channel TF1, in Paris, on November 24, 1981. (AFP)
French actor Alain Delon attends a TV show on French channel TF1, in Paris, on November 24, 1981. (AFP)

French actor Alain Delon, who melted the hearts of millions of film fans whether playing a murderer, hoodlum or hitman in his postwar heyday, has died, French media reported on Sunday. He was 88.
Delon had been in poor health since suffering a stroke in 2019, rarely leaving his estate in Douchy, in France's Val de Loire region.
With striking blue eyes, Delon was sometimes referred to as the "French Frank Sinatra" for his handsome looks, a comparison Delon disliked. Unlike Sinatra, who always denied connections with the Mafia, Delon openly acknowledged his shady pals in the underworld.
In a 1970 interview with the New York Times, Delon was asked about such acquaintances, one of whom was among the last "Godfathers" of the underworld in the Mediterranean port of Marseille.
"Most of them, the gangsters I know ... were my friends before I became an actor," he said. "I don't worry about what a friend does. Each is responsible for his own act. It doesn't matter what he does."
Delon shot to fame in two films by Italian director Luchino Visconti, "Rocco and His Brothers" in 1960 and "The Leopard" in 1963.
He starred alongside venerable French elder Jean Gabin in Henri Verneuil's 1963 film "Melodie en Sous-Sol" ("Any Number Can Win") and was a major hit in Jean-Pierre Melville's 1967 "Le Samourai" ("The Godson"). The role of a philosophical contract killer involved minimal dialogue and frequent solo scenes, and Delon shone.
Delon became a star in France and was idolized by men and women in Japan, but never made it as big in Hollywood despite performing with American cinema giants, including Burt Lancaster when the Frenchman played apprentice-hitman Scorpio in the eponymous 1973 film.
In the 1970 film "Borsalino", he starred with fellow French actor Jean-Paul Belmondo, playing gangsters who come to blows in an unforgettable, stylised fight over a woman.
Crowning moments also included 1969 erotic thriller "La Piscine" ("The Swimming Pool"), where Delon paired up with real-life lover Romy Schneider, in a sultry French Riviera saga of jealousy and seduction.
TROUBLED MAN
Born just outside Paris on November 8, 1935, Delon started life on the back foot: he was put in foster care aged four after his parents divorced.
He ran away from home at least once and was expelled several times from boarding schools before joining the Marines at 17 and serving in then French-ruled Indochina. There too he got into trouble over a stolen jeep.
Back in France in the mid-50s, he worked as a porter at Paris wholesale food market, Les Halles, and spent time in the red-light Pigalle district before migrating to the cafes of the bohemian St. Germain des Pres area.
There he met French actor Jean-Claude Brialy, who took him to the Cannes Film Festival, where he attracted the attention of an American talent scout who arranged a screen test.
He made his film debut in 1957 in "Quand la femme s'en mele" ("Send a Woman When the Devil Fails").
SULPHUROUS FRIENDS
Delon was a businessman as well as an actor, leveraging his looks to sell branded cosmetics and dabbling in race-horses with old underworld friends. He invested in a racehorse stable with Jacky "Le Mat" Imbert, a notorious figure in a thriving Marseille crime scene.
Delon's more louche friendships exploded to the surface when a former bodyguard-cum-confidant, a young Yugoslav called Stefan Markovic, was found dead in a bag, with a bullet in his head, discarded in a rubbish dump near Paris.
The actor was interrogated and cleared by police but the "Markovic Affair" snowballed into a national scandal.
The man police charged with the Markovic murder - he was later acquitted - was Francois Marcantoni, a Corsican cafe owner and friend of Delon who thrived in the hustle and bustle of the Pigalle district in the aftermath of World War Two.
OUTSPOKEN
Delon was outspoken off-stage and courted controversy when he did so - notably when he said he regretted the abolition of the death penalty and spoke disparagingly of gay marriage, which was legalised in France in 2013.
He publicly defended the far-right National Front and telephoned its founder Jean-Marie Le Pen, an old friend, to congratulate him when the party did well in local elections in 2014.
Delon's lovers included Schneider and German model-turned-singer Nico, with whom he had a son. In 1964, he married Nathalie Barthelemy and fathered a second son before ending the marriage and embarking on a 15-year relationship with Mireille Darc. He had two more children with Dutch model Rosalie van Breemen.
In a January 2018 interview, Delon told Paris Match he was fed up with modern life and had a chapel and tomb ready for him on the grounds of his home near Geneva, and for his Belgian shepherd dog, called Loubo.
"If I die before him I'll ask the vet to let us go together. He will give the dog an injection so he can die in my arms."
Delon's last major public appearance was to receive an honorary Palme d'or at the Cannes film festival in May 2019.
In his last years, Delon was the center of a family feud over his care, which made headlines in French media.
In April 2024 a judge placed Delon under "reinforced curatorship", meaning he no longer had full freedom to manage his assets. He was already under legal protection over concerns over his health and well-being.



Movie Review: Mark Wahlberg and Halle Berry Lead a Middling Spy Comedy in ‘The Union’

 Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
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Movie Review: Mark Wahlberg and Halle Berry Lead a Middling Spy Comedy in ‘The Union’

 Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)

“The Union,” an action comedy with Mark Wahlberg and Halle Berry, should have been more fun. Or more exciting. It certainly had a lot working in its favor, including big stars and a budget for globetrotting. But it’s lacking a certain charm that could help it be something more than the Netflix movie playing in the background.

“The Union,” streaming Friday, is a fairy tale — a very male one, about a middle-aged everyman (Wahlberg) whose life never quite got started and who gets recruited to be a spy out of the blue. Mike is a broke construction worker still living in his hometown of Patterson, New Jersey (yes, there are Springsteen songs) with his mother and hanging with his old friends in bars.

That’s all to say that for Mike, it is a breath of fresh air when his old high school girlfriend Roxanne (Berry), walks into the bar one evening looking like a punk-rock superhero in a leather motorcycle jacket. Glamorous and confident and never bothered by the flop of hair getting in her eyes, she has clearly found a life outside Patterson.

The problem, or a problem, I think, is that we already know what she does. Instead of putting the audience in Mike’s shoes, as the fish out of water trying to figure out why he’s woken up in a luxury suite in London after meeting his high school ex in his hometown bar, “The Union” starts on Roxanne. It begins with a kind of “Mission: Impossible”-style extraction gone wrong, in Trieste, Italy, where most of her team ends up dead. She decides that they need some working class grit to reboot.

The idea for the movie came from Stephen Levinson, Wahlberg’s longtime business partner, who together helped bring another middle-of-the-road Netflix action-comedy to life in “Spenser Confidential.” It's directed very basically by Julian Farino, a journeyman who helmed many episodes of “Entourage,” and written by Joe Barton and David Guggenheim. And there is a sort of charming fantasy about the notion that anyone could be a moderately successful international spy given the opportunity and a few weeks of training. In the movies, women get to find out they’re secret royalty and men get to find out they’re secretly great spies.

But “The Union” never quite hits its stride tonally. It’s not silly enough to be a comedy, though I think that’s what it would prefer to be. J.K. Simmons is given too little to work with as the head of this secret agency, which also employs underwritten characters played by Jackie Earle Haley, Adewale Akinnuoye-Agbaje and Alice Lee. One of the more moderately successful running jokes is that Mike’s undercover character is from Boston (get it?). A hulking English henchman even has a heart-to-heart with him about “Good Will Hunting.”

Berry and Wahlberg are fine together, with an easy rapport, but zero chemistry. This would not be problem if the movie wasn’t also trying to be a will-they-won’t-they romance between a woman who forgot her roots and a guy who needs to. I never quite bought into the idea that either of them are actually still thinking about their high school relationship and what went wrong. There’s been a lot of life in the interim to dwell on decisions you made at 17. Not everyone can be Cary Grant and Katharine Hepburn, or even Helen Hunt and Bill Paxton – but maybe in this case the story should have changed to serve its actors better.

That's a nitpick for something with much larger problems. And ultimately “The Union” suffers the fate of many high-priced streaming movies before it: There’s just not enough there — action, comedy, romance, art — to demand (or, rather, earn) your full attention.