Word: moreau
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Dates: during 1960-1969
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...black stockings, she began work in Carl Foreman's The Victors as a cabaret violinist turned whore, playfully kicking up her heels and pulling her tights smooth over her alert backside. Spurred by competition, she may create the greatest whore since the fall of the Ptolomies. Mercouri and Moreau are in The Victors as well...
...night, occasionally early morning. The scene is a street, somewhere on the outskirts of a large city, almost always deserted. A bird might light on a telephone wire or a tree shudder briefly by the wayside, but all else is still. The camera pans in on a woman (Jeanne Moreau? Monica Vitti? Anouk Aimee? Emmanuelle Riva?). She is doing The Walk. Her hands flutter at her skirt, her hips tip from side to side, slowly, sensually. She walks past the tree, or telephone pole, or both, or a thousand of each. Occasionally, she stops, touches a fence post, a tree...
...Human Kind, the picture will have no hero: it is a vast collection of vignettes following the war from 1942 to a confrontation between a U.S. soldier and a Russian soldier in late 1945. Its stars-including Eli Wallach, George Hamilton, Peter Sellers, Vincent (Ben Casey) Edwards, Jeanne Moreau, Romy Schneider and Melina Mercouri-are so numerous that The Victors may turn into The Second Longest Day. But there is no cause for alarm in the lofty moral tones of Carl Foreman's third inaugural. Foreman, by his own definition, is just a born failure. The Victors should...
...second strong point of La Notte is its successful use of the existing technique Alain Resnais tried in Last Year at Marienbad: the cinematic journey into the mind. Watching Lidia (Miss Moreau) look at walls, buildings, people, one senses again that Antonioni is parodying. But because of the reality of his characters, and the fineness of his touch, such scenes are not soporific (as Marienbad was). The technique is no longer experimental: it is controlled...
...difficult to describe the perfection of the cast, which is uniformly excellent, and it is impossible to write of Miss Moreau's command of movement, gesture, and especially facial expression. Somehow she manages to draw one into her world as very few performers can. The riches of La Notte demand that one see it at least twice; until I have, I will say no more about...