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For forty-five years (from 1945 to 1991), this dedicated artist worked tirelessly across all facets of his craft: theater (including directing), film, television, and dubbing. Among these pursuits, Christian Alers always favored the stage, appearing in numerous productions, mostly light comedies. He particularly excelled in plays by Alexandre Breffort ("Impasse de la fidélité"), Michel André ("Virginie," "Deux imbéciles heureux"), and Marc Camoletti ("Boeing-boeing," "La bonne adresse"). In a more poetic vein, he delivered an outstanding performance in André Roussin's "Un amour qui ne finit pas." However, Alers did not shy away from intense dramas, even if only occasionally. He demonstrated his ability in serious works such as Luigi Pirandello's "Comme avant mieux qu'avant" and Bolivian playwright Adolfo Costa du Rels' "Les étendards du roi" and "Le cinquième cavalier." His most remarkable role was portraying Joseph Stalin in Vladimir Volkoff's "Yalta ou le partage du monde."
Like many stage actors, Christian Alers pursued film roles alongside his theater career, but, as was common, this second path proved largely disappointing. He began making films in 1945 at age 23, his slender frame matching his early roles, which were minor. Things appeared to shift in 1950 when he starred in André Cerf's adaptation of the popular Belgian play *Le mariage de Mademoiselle Beulemans*. His portrayal of Suzanne Beulemans' French admirer was commendable, yet, inexplicably, this opportunity did not lead to more prominent film roles. Subsequently, he was confined to small or bit parts, even in notable films—playing Philippe in Éric Rohmer's *Sign of the Lion* (1962), the stranger in Michel Deville's *Adorable Liar* (1962), and young Isabelle Huppert's father in Bertrand Blier's *Going Places* (1974)—but never with enough screen time to truly showcase his talent.
Two exceptions stood out: leading roles in French-style noir films *Force 8* (1974) and *La cassure* (1981). Unfortunately, both were commercial failures, effectively ending any chance of a distinguished film career. Nevertheless, Christian Alers remained active on stage and gained widespread popularity through television series such as *Les saintes chéries* (1965–1970) and *Marie Pervenche* (1984–1991). He was especially memorable as the warm, grey-haired father-figure sidekick to the heroine in two romantic historical series by Marion Sarraut: *Marianne, une étoile pour Napoléon* (1983) and *Catherine, il suffit d'un amour* (1986).
Christian Alers thus retired in the 1990s as a content and accomplished actor. After 45 years devoted to the performing arts, he took his final bow with the satisfaction of a career well executed and the appreciation of his audiences.
