![]() Updates: “Moreau’s relationship with the director Louis Malle and the two films they made in the late 1950s would alter the course of her career-and arguably that of post-war French cinema,” writes Ginette Vincendeau for Sight & Sound: Moreau’s atypical beauty, what she called “the rings under my eyes and my asymmetrical face,” fitted the young filmmaker’s desire for a more authentic cinema and at the same time a more cerebral type of female eroticism, based on the face rather than the body. Moreau was the only actress to have twice chaired the Cannes Film Festival jury, in 19. Seven Nights (1960), the BAFTA Award for Best Foreign Actress for Viva Maria! (Malle, 1965), and the César Award for Best Actress for The Old Lady Who Walked in the Sea (Laurent Heynemann, 1992). She appeared in Michelangelo Antonioni’s La notte (1961), Welles’s The Trial (1962) and Chimes at Midnight (1965), Joseph Losey’s Eva (1962), Jacques Demy’s Bay of Angels (1963), Luis Buñuel’s Diary of a Chambermaid (1964), Rainer Werner Fassbinder’s Querelle (1982), Wim Wenders’s Until the End of the World (1991), François Ozon’s Time to Leave (2005), Tsai Ming-liang’s Face (2009), and Manoel de Oliveira’s Gebo and the Shadow (2012).Īmong the many awards honoring her work are the Best Actress Award in Cannes for her performance in Peter Brook’s Seven Days. François Truffaut immortalized her iconic visage in Jules and Jim (1962), and she would work with him again on The Bride Wore Black (1968). She worked with Jean Gabin in Jacques Becker’s Touchez pas au grisbi (1954), and took the lead in Louis Malle’s Elevator to the Gallows (1958). ![]() Jeanne Moreau, who appeared in over 130 films over a period of sixty-five years and was declared “the greatest actress in the world” by none other than Orson Welles, has passed away in Paris at the age of eighty-nine. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |