Late Blood Jeanne Moreau remained faithful to Europe

Late Blood Jeanne Moreau remained faithful to Europe

World July 31, 2017 10:39

paris - Jeanne Moreau refused to use makeup on the stage as well as in movies, which initially did not help. For years, she had to do it on the white canvas with side rolls in B movies. Only in 1957 did she play her first major role. Director Louis Maille cast her in L'Ascenseur Pour L'Échafaud.

The cooperation favored the two. A year later, Malle made his second film with Moreau, Les Amants, in which she played a bored housewife who gets an outlawed relationship with a stranger. Moreau was famous in one blow, especially by the time-scattering nude scenes and established name as an important actress of the nouvelle vague, the innovative French film style devoted to the art of Hollywood.

François Truffaut, another dumbfounded director, offered her a role in Jules Et Jim in 1961. She again played a promiscuous woman, once engaged in a complicated triangular relationship that spans a few decades. Also with Truffaut, Moreau made a second film, La Mariée Était On Noir (1968). In between, the actress worked with the most famous directors of this period, including Michelangelo Antonioni (La Notte), Luis Buñuel (Le Journal D'Une Femme De Chambre) and Orson Welles (including The Trial).

With her fame, Hollywood's interest in the French actress grew. However, she remained focused on Europe.. For example, the actor without ambitious projects, such as Spartacus's wife (Spartacus's wife), The Graduate (like the seductive Mrs Robinson) and One Flew Over The Cuckoo's Nest (like the demonic Nurse Ratched)

Instead, Moreau decided to explore the field in the 1970s, but she saw this sidewalk after two films. Also in love, the actress had little prosperity during that period: between 1949 and 1979 three marriages ran on the cliffs (including Exorcist director William Friedkin). More success, the diva recieved as a singer. She made several albums over the years and even performed with Frank Sinatra in Carnegie Hall in 1984.

Her total movie supreme was ultimately more than 130 titles, as she was active at high lean times, such as in Le Temps Qui Reste by François Ozon (as a grandmother of a dying cancer patient), Wim Wenders Until The End Of The World (as a blind woman) And La Femme Nikita of Luc Besson (as a teacher at a school for murderers).

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