Word: moreau
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Dates: during 1960-1969
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...Moreau stayed in The Dazzling Hour for two years, then moved on to other shows-Cocteau's La Machine Infernale (in which she appeared with her hair dusted with silver powder, her hands in clawed gloves, and her body covered with a flesh-colored net) and, for two years, Shaw's Pygmalion. She had already begun taking parts in small films, shooting all day, then racing to the theater for the show at night. The word was that Moreau was completely unphotogenic-the nose and ears too small, the mouth too thick, the body nothing special...
...Ultimate. In L'Ascenseur pour I'Echafaud (U.S. title: Frantic], Malle put Moreau under an honest light and wisely let his camera linger. The film was nothing special, but it did accomplish one thing: it proposed a new ideal of cinematic realism, a new way to look at a woman. All the drama in the story was in Moreau's face-the face that had been hidden behind cosmetics and flattering lights in all her earlier films. When Malle made The Lovers the following year, it was obvious who his woman would be. For one thing...
...both mystic and realistic, to try to film both the passion and the poetry of love. The resulting sequence is by now duly celebrated in the annals of film. It follows the lovers from bedroom to bath tub and back to bed again, missing very little, zeroing in on Moreau's face at her ultimate moment of rapture. Jean-Marc Bory, who played the lover, was scarcely revealed as a character, let alone a lover. But Moreau emerged as the consummate woman. When The Lovers won a prize at the Venice Festival, Moreau became celebrated as the Brave...
...Wave, New World. As an actress, Moreau enjoyed her first moment of triumph, but she was miserable over the loss of Malle. She moved from her old apartment in the Latin Quarter to a house in Versailles, and took stock. She was 30 years old, and what did she have? Offers of films. A pen for signing autographs. An occasional friend. It was a bleak time and she considered giving up films altogether. But her life was fully committed to the rhythm and whirl of moviemaking. And if she wasn't an actress, after all, she was very little...
...time, Truffaut was the sternest critic on Cahíers du Cinéma, the trumpet and bible of the New Wave, and he introduced Moreau to the company of serious filmmakers and intellectuals that has been her real world ever since. "I found myself among people I understood better," she recalls, "people I wanted to know, people I admired. The cinema began to mean something to me beyond simply being an actress." Moreau went back to work with a passion, and in two years she made four films, among them three of her best: Les Liaísons Dangereuses...