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Jeanne Moreau: 1. An avid reader who identified most with the rebellious Antigone, Moreau defied her disapproving father to train at the Com. They were forced to marry, but she left her child to be looked after by her mother- in- law and divorced Richard after two years.

Richard stayed in her orbit, as nearly all Moreau’s lovers did, and he even directed her in a few films during her 1. Better Watch Out (2017) The Movie High Quality. Everything changed for Moreau when she fell in love with director Louis Malle during “Elevator to the Gallows”(1. She lived with Malle during “The Lovers” (1. When she wanders through traffic in “Elevator to the Gallows,” the cars whipping right in front of and behind her, Moreau projects a radical kind of self- absorption, a moment- by- moment heavy immersion in her feelings that is romantic, self- consuming, destroying, yet extremely attractive.

The first 25-30 minutes are extremely good (worthy of Kubrick) but after thatit’s Spielberg’s war movie, loaded with sentimentalism. Also, watching this movie. If you had to sit down and add up how much quality time you spend alone with your spouse, what would it be? What about your children? And not time doing and going.

In “The Lovers,” Moreau’s character feels no qualms at all about leaving her comfortable bourgeois life and her small child at sunrise to go off with a man who has loved her for just one night. The ruthlessness of that decision, the lack of any sentimental or duty- bound attachment, is still shocking. Moreau liked to do one take only and never more than two during her French New Wave days, when many of her most famous films were shot for almost no money.

Francois Truffaut’s “Jules and Jim” (1. Moreau wasn’t paid anything following the grueling shoot for Michelangelo Antonioni’s “La Notte” (1. Moreau worked for the love of it and the art of it for the films that would make her reputation, and she took paycheck jobs in more commercial/international features in between. Advertisement. Her first films as a star were awash in jazz music: Miles Davis improvised a score for “Elevator to the Gallows” and Thelonious Monk was heard on the soundtrack for “Dangerous Liaisons” (1.

Moreau projects a deadly sort of impatience and resembles a long and elegant ash of a cigarette just waiting to drop to the floor. Moreau wears blondish hair in that film as an isolated wife and mother stifled by her bourgeois life and obsessing over another woman’s murder. She moves around a small seaside town like someone walking a tightrope with no net underneath. It’s as if there’s no state of mind Moreau won’t explore in “Moderato Cantabile,” and her emotional registers are very unusual in that movie, even eccentric. Off the set, her co- star Jean- Paul Belmondo got into a car accident with Moreau’s young son Jerome, who was in a coma for most of the rest of the shoot, and surely this trauma added to and even caused the brimming openness and next- level potency of her work in this disturbing Duras material. Moreau reaches the crest of her power on screen in “Moderato Cantabile” at 3.

I’m not sure what this 2. Moreau’s face is supposed to mean. I only know that it is so cutting that you will never forget her face here once you have seen it.

Moreau makes this Duras story seem so real and so enveloping when it could easily seem artificial, especially when she gets quietly but deeply drunk at a dinner party with her husband and then retreats upstairs to her child’s room and rolls on the floor. When her husband asks what he should tell the guests, she says, “Tell them I’m going mad.” And she does do that in the final scene, where her character lets out a scream as if she herself is being murdered, like the cry of a wolf in a trap being ripped in two.

Moreau reaches a level of intensity in “Moderato Cantabile” that very few actors have matched before or since. Advertisement. Antonioni wanted Moreau for “La Notte” because he liked the way she walked, and Luis Bunuel was similarly stirred by her walk in “Diary of a Chambermaid” (1. She is good- humored in the Bunuel movie but no- nonsense, with a glare of reproach that could kill. All of Moreau’s directors of the 1. Of all her director- lovers, it is Orson Welles who sees her the clearest and glorifies her the most in “The Immortal Story” (1. Moreau plays a tired prostitute who transforms herself during a night of love. When she is asked by her young lover, “How old are you?

Are you 1. 7?” Moreau takes a moment and then says, “Yes,” and she makes a sea change all at once, becoming 1. Moreau was never more attractive or in charge or dangerous as in her most iconic role: the bohemian Catherine in Truffaut’s “Jules and Jim,” with her bangs and her blithe smile. Moreau’s Catherine is a woman making up the rules as she goes along and bending them and then smashing them because she feels as a female of the species that the game of love and life is rigged against her. She offers the camera half- moods in “La Notte,” half- thoughts, experiments, like a musician deconstructing a melody.

In Jacques Demy’s “Bay of Angels” (1. Moreau plays a platinum blonde ruled by her devotion to roulette, and she makes this gambling addiction seem deeply attractive, hyper- conscious, and quasi- religious, a deeper form of engagement with life and with fantasy. She fluffs her nearly white blonde hair a lot in that movie and presents herself as self- consciously as possible, as if she is intensely aware of each moment as it slips away from her while walking on little tiptoes in her high heels and wiggling in her black- and- white Pierre Cardin dresses.

Moreau seems purely sensual in “Bay of Angels,” but with cerebral quotation marks around her every sensual impulse. In all of her work, Moreau is like a Virginia Woolf narrator crying, “Wait!” to each second of her life. They run on a mood, a theme, an idea, and her characters always break the rules.

Moreau rebels and goes with her heart on screen, with her loves, with her instincts, and this made her an enormously romantic and glamorous figure in her time, and rather lonely, finally. She needed to breathe with a film and become one with it, and she would go to any lengths to do so.

And she would do anything to protect her movies, threatening the meddling producers of Joseph Losey’s “Eve” with a large knife. Moreau is somehow un- self- consciously self- conscious in . In Tony Richardson’s “Mademoiselle” (1. Jean Genet source, Moreau’s eyes burn darkly as she plays a vicious and sick schoolteacher, a kind of precursor to Isabelle Huppert in “The Piano Teacher” (2.

Italian logger. She directed herself in “Lumiere” (1. Around this time Moreau accepted a marriage proposal from director William Friedkin.

She later said, “It was the most passionate relationship of my life, and you know I have had many,” but she found it hard to just be a Hollywood wife and soon fled back to France. Moreau narrated her second film as a director, “L’ adolescente” (1. Advertisement. Moreau gave ten major film performances in ten years from 1. Elevator to the Gallows,” “The Lovers,” “Moderato Cantabile,” “La Notte,” “Jules and Jim,” “Eve,” “Bay of Angels,” “Diary of a Chambermaid,” “Mademoiselle,” “The Immortal Story.” After that she mainly did bits and pieces here and there, as in her baleful Lysiane in Rainer Werner Fassbinder’s very gay “Querelle” (1. Losey’s “The Trout” (1. And then there was a long string of films where she was an icon without a role to play.

There were exceptions to that sometimes. Moreau enjoyed herself as a vulgar, slangy crook in “The Old Lady Who Walked in the Sea” (1. Marguerite Duras’s “The Lover” (1. Adventurous and attuned to first- rate directors, she played roles in films for Wim Wenders and Theo Angelopoulos, sustaining the very demanding single takes in extreme long shot in Angelopoulos’ “The Suspended Step of the Stork” (1.

Moreau played the relentlessly critical mother to Gerard Depardieu’s “Balzac” (1. Marguerite Duras herself in “Cet- amour- l. We spoke on the phone first about films and amour, and then I got to talk to her in the ballroom at the Pierre Hotel, which has mirrored walls. She was diminutive but commanding, sweeping into the space with her face unsettled and uncommitted. We were introduced and we talked about Jacques Demy, and then we were joined by others.