Word: moreau
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Dates: during 1960-1969
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...Moreau's face proves that beauty need not be fair. In every Moreau film, the unforgettable moment is when the camera draws in close and fixes its attention squarely upon her. It is then that her beauty is evident-as in the sight of her quiet ecstasy in The Lovers, or the crucial, almost unbearable sequence in Le Dialogue des Carmélites when tears spill down from her staring eyes. Jules and Jim showed her in librarian's glasses, wearing a charcoal mustache, smoking an Italian cigar -yet it was still perfectly conceivable that the boys fell...
Wine in the Morning. In Moreau's own eyes, her life is no more real in fact than in fantasy. "How annoyed I get to hear people speak of 'the profession of acting,' " she says. "The only thing worse is when they say, 'You're a real pro.' Acting is not a profession at all; it's a way of living-one completes the other. What an actor needs is a sense of involvement, an unconscious familiarity with his role, nothing more than that. There's no point in pursuing the character...
...intensity of Moreau's encounters with the characters she plays is not entirely an act of will. She may begin by interpreting them, but she winds up substituting herself for them, and in the end their adventures are quite literally her own. Is it she who becomes the character, or the character who emerges from the script to become her? -she does not know. But she cannot bear to see most of the films she has made; they force upon her too dramatic a confrontation with her own past. "The love, suffering and happiness I experience in life appear...
...Convalescent. Moreau's friends have observed her internal changeover time and again, and they have long since grown used to thinking of her in terms of what movie she's in. But the depth of the transformation amazes them, and they are always genuinely relieved to see her come out the other side, once the movie is made. "The drama of her life is that there is no difference between her acting and her private life," says Producer Raoul Levy, uneasily recalling that during the shooting of Moderato Cantabile in 1960, she started drinking wine in the morning...
Sometimes, as with La Notte, a study of conjugal boredom, the identity of art and artist chills Moreau's soul. She disagreed with the film's black point of view, hated making it, and still refuses to sympathize with the spiritually anesthetized character she played. Yet there was something of her in every tremor of the composed, presentable grief that La Notte mercilessly dissected, and four years afterward it can still make her shudder. "There are people like that poor woman, of course," she says, "but that is not what love is like. Not for me, at least...