Emma Watson French Accent

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The famous Happy Potter franchise star that is coming with two major hits this year: Beauty and the Beast live-action remake as well as starring in Tom Hank’s upcoming movie The Circle (2017). Emma Watson is the actress who started her movie career as a bookish and challenging character of Hermione Granger since she was 11 years old; besides being a celebrity she is the girl with many talents and occupies the news lead time and time again.

Yes, despite having a British accent, this actress was born in France. Her parents (both of whom are lawyers) are fluent in French whereas Emma Watson can also speak the language but not with much fluency as she moved to England when she was five years old.

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Emma Watson is quite a spiritual person. She is an exceptionally qualified meditation and yoga instructor. She decided to take up yoga as a means to have some structure in her otherwise chaotic, fast-paced lifestyle.

Emma Watson like Hermione Granger (the character she is remembered for) is intelligent and bookish, she has scored A’s in her high school and wanted to discontinue Harry Potter movie shooting in order to peruse further studies, nevertheless in 2014, she graduated from Brown University and holds the degree of English Literature, another reason for her fans to be proud of her.

One of the most prominent features of her life after becoming famous for Harry Potter franchise is being women’s rights activist for which she is often in the news. Watson is also a part of the #HeforShe campaign and she relentlessly speaks for women’s issues and travels around the world despite facing a severe anti-feminist backlash against her.

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Unlike other celebrities like Tailor Swift, we don’t hear much about Emma Watson’s love life as she does not disclose it publically. Since last year, she is reportedly dating tech entrepreneur William Mack Knight but she does not bring this subject up as she doesn’t like being followed by the paparazzi who obsessively take pictures of her and her boyfriend when they leave home. She prefers to not share her private details with the media.

In 2005, she was featured as the youngest (age 15) Teen Vogue celebrity and beauty icon. Her younger brother Alex Watson is also a model and they both were the fall 2009 face of Burberry. Currently, along with rocking the Disney Princess look for the promotion of her upcoming flick Beauty and the Beast, Emma Watson was featured in Vanity Fair cover star campaign last week.

The photo shoot stirred much controversy as Watson sported a see-through top in one of the photos, to which her apt rebuttal is that it has nothing to do with her feminist stance.Get our free weekly email for all the latest cinematic news from our film critic Clarisse LoughreyGet our The Life Cinematic email for free

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In the months building up to Little Women’s release, rumours circulated, on Twitter and within Hermione Granger fan circles, that Emma Watson wasn’t very good in it. It was said that some of her scenes had been cut, that test audiences had disliked her American accent, and that she was only in the film in the first place as a last-minute favour to Sony head Amy Pascal. (Emma Stone, director Greta Gerwig’s first choice for the character of Meg March, dropped out.)

Watson’s relative absence on the Little Women press tour has given further weight to the speculation – specifically a day in the middle of December that saw the majority of the cast speak to press in a London hotel, while Watson was off darting around the city on her own, leaving free copies of Louisa May Alcott’s book near certain London landmarks.

A source told Page Six that Watson had informed Sony Pictures that she would only attend the film’s New York premiere and not commit to any further promotion for the film, leading to (potentially misogynist) speculation that there was a cast feud – or that Watson was unhappy with the film, or her performance in it.

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In truth, however, Watson is brilliant in Little Women – just as she has been in a number of films in recent years. But praising her as an actor is often met with cynicism – as if you’re either blinded by residual Hermione love, or you’re generally delusional.

Watson’s reputation as a not-very-good actor is partly Harry Potter’s fault, with an entire generation growing up watching her, Daniel Radcliffe and Rupert Grint stutter and shriek their way through the halls of Hogwarts. The fact that none of them were particularly good in the early entries of the franchise – chosen less for their acting abilities than for their physical similarities to JK Rowling’s source material – has also stuck around in the cultural consciousness. It’s meant that, even as adults, all three have been unfairly labelled as bad actors – despite having demonstrated their individual range in the nine years since the series ended.

A helter-skelter ride of a movie, satirical, very witty and showing its director’s immense affection for the B-movie actors, stunt men and hangers on who make up its cast. It’s also a tribute to Sharon Tate (Margot Robbie). Who would have believed that a film set just as the Sixties in LA turned sour could be so uplifting? Geoffrey Macnab

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The world isn’t scared enough of Scientology, but perhaps it would be if enough people had seen The Master. Paul Thomas Anderson depicts (a fictionalised version of) the cult as a trap for bruised masculinity. Philip Seymour Hoffman and Joaquin Phoenix contort themselves into primitive creatures of greed and desire. It’s an ugly film, in the very best sense of the word. Clarisse Loughrey

Scorsese summons all his sad captains for one last reunion in his magisterial gangster epic. De Niro, Pesci, Keitel and (newcomer) Pacino are all cast in a film as much about friendship, memory and betrayal as it is about corruption in the Teamster union or Mafia violence. GM

This is Pixar’s boldest and strangest animated feature. It takes us deep inside the mind of its heroine, 11-year-old Riley, where her unconscious is shown as akin to a magical theme park; emotions like Joy and Sadness feature as characters. Director Pete Docter deals with complex subject matter in a lithe and inventive way, and without too many Freudian hang ups. GM

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Hirokazu Kore-eda is like the Charles Dickens of contemporary Japanese cinema. He tells melodramatic family stories which would seem mawkish if they weren’t so brilliantly observed. Winner of the Palme D’Or in Cannes, this is one of his very best movies – a heart-tugging story about impoverished members of a makeshift family doing everything they can to survive. GM

Dogtooth is a grim tale of isolation, incest, cat murder and DIY dentistry. But Yorgos Lanthimos has a hidden superpower up his sleeve: the more off-putting his films, the more you get drawn in. His work breeds curiosity. We want to solve the mystery of these strange worlds and their cold, inscrutable characters. The fact that there are no answers keeps us coming back for more. GM

Kelly Fremon Craig’s gorgeous if cruelly unrecognised The Edge of Seventeen is deliberately small in plot, with Hailee Steinfeld playing a grumpy teen horrified to discover her best friend is dating her older brother. But it is told with heartwarming urgency, reflective of the heightened, dizzying drama of merely being a teenager.

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Reclusive New England poet Emily Dickinson, who published only a handful of poems during her lifetime, is brought to life in vivid fashion by actress Cynthia Nixon in Terence Davies’s biopic. She may look like a spinster aunt but Nixon shows us her passion, mischief and her eccentric brilliance.

Noah Baumbach’s Frances Ha is the definitive film about the quarter-life crisis, largely because it embraces the messiness of it all. We get the ups and the downs. We get the poorly-planned trip to Paris made by a young woman desperate to experience something profound. It’s a film without many dramatic conflicts, but marked by a gentle push towards accepting the inevitability of change.

Famous for its scene of Leonardo Di Caprio being mauled by a bear, Alejandro González Iñárritu’s western is part survival drama, part revenge movie. It’s a wilderness tale on the very grandest scale. From the opening massacre to the snowbound denouement, it if full of moments that startle you with their violence and their beauty. GM

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Shot over 12 years, Richard Linklater’s Boyhood is the ultimate coming-of-age movie. It follows main character Mason (Ellar Coltrane) from when he is seven years old until he is a young adult. It’s a testament to the patience and ingenuity of Linklater and to the exceptional work of his cast (including Patricia Arquette and Ethan Hawke) that the film never feels phoney. GM

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