What do “The Three Musketeers” by Dumas mean to you?
Eric Ruff: I have read the book twice, at two different times in my life. Simon Eine, a member of the Comédie-Française, for whom it was a founding text, suggested that I read it while on tour. Then I read it again just for fun. In itself, it is not a simple piece of literature to act out, to perform, but after reading it for the first time, I found Alexandre de la Patellière and Matthieu Delaporte’s adaptation to be very neat.
How to approach such a cunning character as Richelieu?
Before putting on the costume, I needed to know what Martin Bourboulon wanted to do with the character. I quickly realized that he liked the idea of it being physically imposing, which is far from the picture we have of him. Richelieu is best known for being a red eminence whose weapons are intelligence, duplicity, criticism, synthesis, cunning rather than physical strength and the ability to impress in ways other than words. Martin also told me that he didn’t want anyone to guess what he was really thinking. It was a good tip that steered me.
You are the deputy director of the Comedie-Francaise, where one hall is named after him. So Richelieu is related to your everyday life. Does that make him close to you?
Impersonating someone/something that in the minds of people is an institution, or even a bus stop or a district, is always interesting and exciting! Suddenly, the figure that gave its name to what has become an urban landmark comes to life. Richelieu stood in my way when I was vice-president of the Comédie Française for eight years. This theater is governed by the state and houses an autonomous acting cooperative, which shows how much I am in the midst of conflicting orders and single logics. It also means that we have to manage over four hundred people who have eighty different professions – including sixty actors and actresses who are very enlightened people, but deep down they are torn by various fears. So there is something about Richelieu’s manner that is not entirely alien to me. I don’t know if Martin had this in mind when he offered me the role.
How do you perceive this red and gray eminence that is Richelieu?
These shadow figures have hands, tools, but no titles. It’s fascinating to realize that kings like Louis XIII and Louis XIV were originally children with power, surrounded by adults. Richelieu must have swallowed more than one frog without batting an eyelid. Be impervious to political whims. Such figures are like ducks with water running down them. They never forget that they have a strategy, a goal to achieve. But as in a classic tragedy, sentiment threatens to derail their capacity for power. So the eminence grise is necessarily cold; observes, tempers, controls the course of events. But it also breeds envy and immense frustration. Moreover, he can also act as a paternal figure for the king. But father must be killed…
This role requires a lot of attention on your part.
Richelieu is the one who has the potential to speak, who redirects the debate, but whose duty is to listen. In addition, Martin filmed all the council scenes like a poker game in Las Vegas. We’re trying to read the face who’s bluffing. Every calm becomes suspicious! I was surprised by the number of axes Martin chose in these scenes, but quickly realized that he wanted to make this stalking game more dynamic.
In such a dynamic story, your character creates a counterpoint through its stability and resilience.
Richelieu is like a jazz counterpoint. Or like an anchor in a navy: we throw ballast, sails, everything that floats into the sea to cushion the waves and stabilize the boat on the leeward side.
How did you develop its appearance and movement?
It’s helpful that these costumes take a long time to put on. As you put them on, layer by layer, you have time to sink into them. Because of my acting career, I have some experience with costumes. And I really enjoyed playing with Richelieu’s costume, as if the wind of history was blowing and I had to contend with it constantly. This gives the character an epic meaning.
Martin wanted to see the looks, the shivers, the little details. I also like to play with my hands. People always think that intellectuals and strategists have long, slender pianist hands, but I’m more of a farmer’s hand, and we found that interesting. I also had Giacometti’s “Walking Man” sculpture in my head. Its movement is sort of stopped, which helps to distinguish between something static and something about to move. The internal dynamics are not the same.
You reunited with Loius Garrel, whom you were a teacher at the academy, Your King’s Game!
Indeed, I was a young teacher when I came to his group. We’ve stayed in touch ever since. I think he’s great as Louis XIII. Makes him an unpredictable king. His playing “outside” rather than “inside” works beautifully. I was very happy to meet him on set.
How did Martin Bourboulon direct you?
With great respect. We just got out of covid, so it was even more impressive to be in such a scenery. I was blown away by the technical and human resources used in this film. And I was fascinated by how the architect of this project worked. I was very impressed by Martin’s calmness and his obvious enjoyment of working on the set. He always took the time to find out how everyone was doing. He was also very attentive to our suggestions. I found him very elegant and, I think, very pleased with his cast.
Was shooting on real film sets inspiring for you?
Definitely. On the set, I realized a fantasy – I often pass through the square courtyard of the Louvre to get from the Comédie-Française to the Théâtre du Vieux-Colombier. Every time I imagine seeing horses, musketeers, hearing the sound of carriages, I always wonder how people lived back then. In one scene I walk through this courtyard. There was smoke, straw, horses. Martin fulfilled my fantasy! My imagination has been embodied! And now, when I pass that way again, I think about all this. I am also a set designer and therefore I am sensitive to the quality of what is realized in a performance or film. On the set, I hate staying in the dressing room. I like to go to the set to get a feel for the crew and be less impressed when “Action!”
Source: Gazeta
Bruce is a talented author and journalist with a passion for entertainment . He currently works as a writer at the 247 News Agency, where he has established himself as a respected voice in the industry.
