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She was born in 1932 as daughter of the actress Geneviève Sorya. At the age of 16 (in 1948) she played the part of Juliette in Amants de Vérone, Les (1949). In the following years (fifties and beginning sixties) she made various films (e.g. Amants de Montparnasse (Montparnasse 19), Les (1958) and Dolce vita, La (1960)) but had only with Lola (1961) of Jacques Demy and Un homme et une femme (1966) of Claude Lelouch major success. With the latter she had the chance to establish herself in America but did not use this opportunity. Therefore she was only participating in second row productions in Europe and America.
IMDb Mini Biography By: Volker Boehm| Albert Finney | (7 August 1970 - 1978) (divorced) |
| Pierre Barouh | (1966 - 1969) (divorced) |
| Nikos Papatakis | (1951 - 1954) (divorced) 1 daughter |
| Edouard Zimmermann | (1949 - 1950) (divorced) |
Daughter of Henry Murray and Geneviève Sorya
Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#56). [1995]
Her manager is Dominique Besnehard.
Has supported Lionel Jospin's 2002 presidential campaign.
Ex-stepmother of Simon Finney.
Was one of several actresses considered for the role of the Baroness in the film version of The Sound of Music (1965); the role ultimately went to Eleanor Parker.
Adopted her stage name Anouk after playing a character of that name in her debut film, Calef's Maison Sous la Mer in 1946.
In an interview with the Guardian Unlimited (December 2007) the actress said that the part she regrets not accepting most was Vicki Anderson, the insurance investigator eventually played by Faye Dunaway opposite Steve McQueen in the first Thomas Crown Affair.
Her acting career began when, at age 14, she was walking down the rue Colisée in the eighth arrondissement in Paris with her mother. Director Henri Calef stopped her and asked if she would like to be in a movie.
Mother of Manuella Papatakis (b. September 15th 1951).
You can only perceive real beauty in a person as they get older.
Oh come on, it hasn't been an unimpressive career. If you look at the number of projects I've been involved in, the people I've worked with ... But it's perhaps true that I haven't always made the right choices. I've taken parts I didn't particularly like because I wanted to work with the director - Altman, for example. But there's very little that I actually regret doing. I had to do most of it, I needed the money. There are one or two things I could have said yes to, though. That's probably true.
It is always better to have a few scenes with a good director, than many scenes with a bad one.
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