Word: moreau
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...astounding the Welles had the lack of judgement to cast Anthony Perkins as Joseph K. Perkins is too boyish and nervous for the role. As the film progresses, he gets more and more hysterical, instead of becoming more and more deeply involved in his case. Jeanne Moreau handles the tiny role of Mile. Burstner very well; her part could have been expanded to the film's advantage. Welles himself plays Joseph K.'s lawyer; he is not outstanding. The best performances in the picture are turned in by Romy Schneider and especially Akim Tamiroff. Miss Schneider portrays Leni, the lawyer...
...even Orson. As the advocate he has a small part and the grace to play it small . . . as small, that is to say, as a man his size can play anything. As the director he coaxes some entrancing episodes from Romy Schneider and a good low bit from Jeanne Moreau. And he gets more out of Tony Perkins than there is in him. This resolutely cute young man, the sweater-boy wonder of the fan-mag industry, is surely an improbable archetype of the Anxious Age; but in scene after scene Welles rolls him up like an empty toothpaste tube...
...dachshund sank his painted scarlet toenails into the damask couch, the elegant woman known simply as Countess crossed her legs and yawned. A journalist stood for an instant's breath of air, sat back down on two lady buyers who were clawing for her chair. Actress Jeanne Moreau blinked drowsy eyes and flicked waves of ashes to the rug. Vicomtesse Jacqueline de Ribes swung black-mesh-stockinged legs, started a fad, and smiled her best-dressed approval. Outside, snow fell softly on the streets of Paris, and there were some who talked of De Gaulle and the Common Market...
...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...
Silence & Ambivalence. The professional transition that prepared her to bat in the same boudoir with Mercouri and Moreau began with the part of the pretty young wife of the dissolute count in Luchino Visconti's segment of Boccaccio '70. But the role still had a touch of the old sentimentality in it, since Director Visconti had her cry while she was collecting money from her husband for granting him his marital consortium. Orson Welles has presumably buffed her up further as the nymphomaniac Leni in his still unreleased version of Franz Kafka's The Trial...