Yvonne Monlaur(1935-2017)
- Actress
Yvonne Thérèse Marie Camille Bedat de Monlaur was born in France, the daughter of a French poet and a Russian ballerina and pianist. As a youngster she was trained for ballet and in her late teens worked as a model for Elle fashion magazine. By the mid-1950's, she also began appearing in French and Italian films. Her good looks and some positive reviews paved the way to bigger roles towards the end of the decade. With this came increased publicity. In June 1959, she was featured on the cover of the weekly Milanese news publication Tempo. Another Italian paper heralded her as the year's 'most promising actress'.
There are two conflicting accounts as to how Yvonne first came to the attention of Hammer Studio's Head of Production Anthony Hinds: according to one, it was after watching her performance in Avventura a Capri (1959); another claimed that he saw an article of her in a French magazine. Either way, Hinds contacted her in Paris two days later and invited her to England where she was cast in a little-seen television drama, Women in Love (1958). A writer for the Daily Mail described this -- her first credited part in an English language production -- "as bubbly as a glass of champagne".
Yvonne's introduction to the horror genre came via Le Cirque des horreurs (1960), made by Anglo-Amalgamated. She still had some difficulties with English but recalled receiving some benevolent mentoring from her co-star Anton Diffring (who, on screen, specialised in rather non-philanthropic types). Next came the role for which she is perhaps best remembered: that of French teacher Marianne Danielle, the heroine and potential 'tasty morsel' of Les Maîtresses de Dracula (1960). Filmed at Hammer's Bray Studio, director Terence Fisher did his best to provide suspense since the plot lacked any genuine semblance to originality. Indeed, Christopher Lee had refused to play the vampire for fear of being typecast and the role of Dracula descendant Baron Meinster fell instead to little-known David Peel, while Peter Cushing returned in the familiar guise of Van Helsing.
L'empreinte du dragon rouge (1961) provided the finale of Yvonne's brief sojourn in Britain. First-billed Christopher Lee was particularly effective as Chung King, evil head of a Hong Kong-based Red Dragon crime gang. So much so, that he managed afterwards to secure the lucrative part of supervillain Fu Manchu in a series of four pictures made from 1965 to 1968. Yvonne was cast as a Eurasian girl (ironically named Lee), and had invisible adhesive strips mounted either side of her face to give her eyes an Asian appearance. Michael R. Pitts, in his book "Columbia Pictures, Horror, Science Fiction and Fantasy Films, 1928-1982", regards both Lee and Monlaur as the picture's highlights.
At the end of 1961, Yvonne returned to the continent and went on to appear for the rest of the decade in an assortment of Italian and French films of varying merit: some comedies, a swashbuckler, even a couple of the ever-popular crime potboilers, featuring Eddie Constantine as Lemmy Caution or Nick Carter. Her last outing was in a 1969 made-for-television homage to French music hall, doing a rendition of grand chanteuse Mistinguett's hit 'C'est vrais'. The following year she retired from the screen 'for personal reasons' and lived most of her remaining life in Paris, occasionally attending film festivals and conventions.
There are two conflicting accounts as to how Yvonne first came to the attention of Hammer Studio's Head of Production Anthony Hinds: according to one, it was after watching her performance in Avventura a Capri (1959); another claimed that he saw an article of her in a French magazine. Either way, Hinds contacted her in Paris two days later and invited her to England where she was cast in a little-seen television drama, Women in Love (1958). A writer for the Daily Mail described this -- her first credited part in an English language production -- "as bubbly as a glass of champagne".
Yvonne's introduction to the horror genre came via Le Cirque des horreurs (1960), made by Anglo-Amalgamated. She still had some difficulties with English but recalled receiving some benevolent mentoring from her co-star Anton Diffring (who, on screen, specialised in rather non-philanthropic types). Next came the role for which she is perhaps best remembered: that of French teacher Marianne Danielle, the heroine and potential 'tasty morsel' of Les Maîtresses de Dracula (1960). Filmed at Hammer's Bray Studio, director Terence Fisher did his best to provide suspense since the plot lacked any genuine semblance to originality. Indeed, Christopher Lee had refused to play the vampire for fear of being typecast and the role of Dracula descendant Baron Meinster fell instead to little-known David Peel, while Peter Cushing returned in the familiar guise of Van Helsing.
L'empreinte du dragon rouge (1961) provided the finale of Yvonne's brief sojourn in Britain. First-billed Christopher Lee was particularly effective as Chung King, evil head of a Hong Kong-based Red Dragon crime gang. So much so, that he managed afterwards to secure the lucrative part of supervillain Fu Manchu in a series of four pictures made from 1965 to 1968. Yvonne was cast as a Eurasian girl (ironically named Lee), and had invisible adhesive strips mounted either side of her face to give her eyes an Asian appearance. Michael R. Pitts, in his book "Columbia Pictures, Horror, Science Fiction and Fantasy Films, 1928-1982", regards both Lee and Monlaur as the picture's highlights.
At the end of 1961, Yvonne returned to the continent and went on to appear for the rest of the decade in an assortment of Italian and French films of varying merit: some comedies, a swashbuckler, even a couple of the ever-popular crime potboilers, featuring Eddie Constantine as Lemmy Caution or Nick Carter. Her last outing was in a 1969 made-for-television homage to French music hall, doing a rendition of grand chanteuse Mistinguett's hit 'C'est vrais'. The following year she retired from the screen 'for personal reasons' and lived most of her remaining life in Paris, occasionally attending film festivals and conventions.
