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Anna Gaylor
(COMÉDIENNES)
162 Rue Ordener, 75018 Paris, France
Anna Gaylor (1932-2021, real name Anna Marie Tamora Senioutovitch) was a student at the Conservatoire national supérieur d’art dramatique alongside Jean Rochefort, Jean-Pierre Marielle and Jean-Paul Belmondo. She made her theatre debut in 1956 at the Théâtre de l’Athénée. On the big screen she came to the public’s attention in two British productions, Seven Thunders, directed by Hugo Fregonese where she played a leading role alongside Stephen Boyd (1957), and then Nor the Moon by Night, directed by Ken Annakin. She worked in several films with her husband, the director Alain Jessua, including La Vie à l’envers (1964), Jeu de massacre (1966), and Traitement de choc (1973).

LA VIE A L’ENVERS (LIFE UPSIDE DOWN)
FOR ADULTS, MORAL ASSESSMENT OF THE C.C.R.T. : -This film, describing both objectively and subjectively the birth and development of a mental illness, is psychologically interesting. The subject and the manner in which it is treated are intended strictly for adults only.
Psychopathological study.

DIRECTOR / Adaptation / Screenplay / Dialogues: Alain JESSUA
Images: Jacques ROBIN
Music: Jacques LOUSSIER
Sets: Olivier GIRARD

PERFORMERS: Charles DENNER, Anna GAYLOR, Guy SAINT-JEAN, Nicole GUEDEN, Jean PANNE, Yvonne CLECH
Production: A.J. FILMS, DAVIS FILMS, French origin (1964) Screening duration: 90 minutes
Released in Paris:S.E.:1-1.aEMC.1964
SCENARIO An employee of a small real estate agency, Jacques Valin leads a quiet life as an average Frenchman, which he shares with his friend Viviane, a young cover girl who shoots short advertising films. Exhausted by Parisian life, he discovered one day the strange ability to abstract himself at will from the outside world, which thus disappeared in His eyes. In these alternations of lucidity and dream, he marries Viviane, but insults the guests on the day of the wedding. Later, he loses his place, becomes more and more of a stranger to his friends. Believing him to be unfaithful, Viviane tries to commit suicide. As soon as the young woman is out of danger, he returns to his closed world—Viviane ends up entrusting him to the care of the doctors. And Jacques is happy in the universe he has forged.
COMMENTS “Crazy stories” are all the rage. But, this one seemed to us to be one of the best. Indeed, whereas, for example, the madman of Gogol and Coggio was a “case” and did not move us, we enter here into Jacques’s delirium without losing the notion of the outside world. It is a tragedy: because, first of all, we see the progress of the disease without however being able to find the patient wrong (this lassitude, this desire to escape, which man of the 20th century does not have it, at a different degrees of course, felt too?); then, because the ravages caused by this attitude on the beings who surround him and who share his life are all the more cruel in that they are, in this case and most of the time, irreversible. Charles Denner and Anna Gaylor’s acting is absolutely remarkable and adds another quality to a well-designed, well-directed, well-edited film that makes you think long after you’ve seen it.
P.G.