Jeanne Moreau was to French cinema as Manet’s “Olympia” was to French painting — the personification of the gait, glance, and gesture of modern life. Her darting brown eyes and enigmatic moue were the face of the French New Wave. Her candid sensuality and self-assurance, not to mention the suggestion that she was always in control, made her the epitome of the New Woman. From Orson Welles and Luis Bunuel to Joseph Losey and Rainer Werner Fassbinder, Moreau was the muse to the greatest directors of world cinema.
“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”
Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,...
“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”
Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,...
- 7/31/2017
- by Carrie Rickey
- Indiewire
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