- Born
- Died
- Birth nameNicole Françoise Florence Dreyfus
- Height5′ 6¾″ (1.70 m)
- The daughter of actress Geneviève Sorya, in 1948 she played the part of Juliette in The Lovers of Verona (1949). During the 1950s and 1960s she made various films, including Montparnasse 19 (1958) and La Dolce Vita (1960), but only Lola (1961) , Jacques Demy, and A Man and a Woman (1966) Claude Lelouch saw major success. With the latter she had, but did not use, the chance to establish herself in the United States. Thereafter she only participated in second-tier productions in Europe and the United States.
- IMDb mini biography by: Volker Boehm
- SpousesAlbert Finney(August 7, 1970 - 1978) (divorced)Pierre Barouh(April 20, 1966 - March 17, 1969) (divorced)Nikos Papatakis(August 12, 1951 - October 1955) (1 child)Edouard Zimmermann(February 14, 1949 - October 1950) (divorced)
- Children
- Parents
- Often plays characters named Anouk
- Petulant voice
- First actor to receive an Oscar nomination for a French-language performance (for A Man and a Woman (1966)).
- Of all the roles she turned down, the one she regrets not accepting the most was the Faye Dunaway role in The Thomas Crown Affair (1968).
- Has had relationships with Warren Beatty and Omar Sharif.
- 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.
- Claude Lelouch was reportedly in love with Aimée during the shooting of A Man and a Woman (1966), but was unsuccessful in winning her heart, since she was already romantically involved with the composer Pierre Barouh (who had written a song for the film), whom she'd later marry.
- 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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