Word: beartedly
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...strips and contorts her, plies her, woos her, drives her to boredom, exasperation, tears. He is, in last week's favorite phrase, her mentor and tormentor. What the aging artist Frenhofer (Michel Piccoli) does to his young model, Marianne (Emmanuelle Beart), as she poses for his first painting in years, is a disinterested kind of sexual harassment for art's sake. These sittings, a seduction on canvas, fill more than half of Jacques Rivette's four-hour La Belle Noiseuse. The phrase is loosely translated as "the beautiful nut case," but Frenhofer, not Marianne, is the genial lunatic...
Manon of the Spring picks up the story after a gap of a decade or so, when the hunchback's daughter Manon (Emmanuelle Beart) decides to take her revenge. Although both films were made at the same time and star mostly the same actors, Manon was released separately, both here and in France. You do not really have to have seen the first half to enjoy Manon, but it helps...
...Berri's cinematography sets out to record the archetypical Provencal village. Barri shoots glassy stares at the Midi countryside as easily as close-ups of Ugolin's unshaven cheek or Papet at the table. Unfortunately, Manon appears to be just another landscape. Beart is an extraordinary beauty. She has long blond hair and baby-blue eyes and a face that could launch a thousand ships. But she has almost no lines in the entire two hours of the film...
...their destinies are determined by the workings of blind fate. Though naturalism is the controlling mode of Jean de Florette, audiences should bear the Greek model in mind when Manon des Sources, the second part of this work, is released in the fall. In it the eerily beautiful Emmanuelle Beart plays Jean's daughter Manon, now grown up and ready to take vengeance on her father's tormentors. To be prepared for this classic drama is one more reason -- though none is needed -- to see Jean. Indeed, the crowds emerging from the theater in the opening weeks seemed ready...
Literary critics must use new criteria or perhaps none at all to judge such writing, just as the poets themselves constantly employ new methods of expression Obsessive rationalism destroys the beart of poetry, Libby maintains...