Marie-christine Adam

Marie-Christine Adam first started out on stage, before taking the television step for the famous show "Au theater ce soir" in 1973. After a discreet appearance in Impossible ... pas français by Robert Lamoureux in 1974 , she returns to play comedy in Parisian theaters and does not really come back to the screens until a few years later.

She thus connects small roles, before obtaining a leading one in Robert Thomas' Freddy in 1978. Coming from the classical and dramatic tradition, she then rubs shoulders with the popular comic register, which she then finds in Tais-toi , and eat your soup !! (1980). Although her skinny figure is regularly seen on screens, and she appears in landmark films, such as L'Amour braque by Andrzej Zulawski (1985), audiovisual projects are still too rare for her to become a recognizable figure. for the viewer. It was thus not until the 1990s to see it settle permanently on the big screen.

She first reappears in modest productions (Generation Oxygen, Mohamed Bertrand-Duval), then her stereotypical Parisian bourgeois style opens the doors to foreign productions that have come to France. This is how we find her in the credits of the thriller They never forget by Christopher Frank, and French Kiss by Lawrence Kasdan, alongside Meg Ryan and Kevin Kline. At the start of this new decade, the machine is racing for Marie-Christine Adam, who plays head-on in cinema and television (Sousceyrac's lunch, Ordinary heroes: Identity control). This multiplication of projects then brought her a solid reputation as a supporting role, which she put into practice in much larger projects, such as Les Trois frères in 1995,

Knowing a boom in her career, the actress becomes a recurring role in the series Sous le soleil by playing Blandine Olivier, a character she plays until the end of the series in 2008. She continues to play in parallel, in a register more dramatic, for other programs, such as the television drama L'Enfant perdus (1997) or the committed Victoire ou la grief des femmes (2000). Little bothered by labels, she seems as comfortable alongside Jamel Debbouze in the H series, as Claude Berri and Fanny Ardant (La Débandade). Her acting qualities then seemed to be recognized in 2000, when she was part of the adventure Les Acteurs, by Bertrand Blier, where she was part of the cream of French cinema gathered on the screen.

From the beginning of the 2000s, Marie-Christine Adam went on to major projects in the cinema, and we can see her in quick succession in La Vérite si je mens! 2 by Thomas Gilou, 7 years of marriage, where she finds Didier Bourdon, and the American Le Divorce by James Ivory, several films in which she plays important roles. Subsequently, although more discreet, she appears all the same in The One Rest, the other part for her reunion with Claude Berri, Hors de prix en amante de Gad Elmaleh, then in Deux jours à rire by Jean Becker in company of Albert Dupontel. Adept of these bourgeois characters dressed to the nines, the actress still plays them in Neuilly sa mère !, then gives the reply to Juliette Binoche and Mathieu Kassovitz in Sylvie Testud's first film, La Vie d'une further,

Author: Thibaud Gomes-Leal