#Jeanne Moureau

[soundandvicios]

Ascenseur Pour L'Échafaud (1958) (Elevator to the Gallows) • Directed by Louis Malle

I know this is considered a minor film but it's a personal favorite. I love the black and white cinematography, the theme of doomed lovers, and the killer MILES DAVIS soundtrack.

The night shots of Jeanne Moureau wandering the Champs-Élysées backed by the jazz score are cinema!

This gem was born from a four-hour session of improvisation.

[zurich-snows]

Jeanne Moreau in Truffaut's The Bride Wore Black (1968) #FrançoisTruffaut 

[365filmsbyauroranocte]

“I shall die very young...maybe seventy, maybe eighty, maybe ninety. But I shall be very young.”

Jeanne Moreau in Paris (1949) 

[tina-aumont]

FR/ENG

Manifeste des 343

Le manifeste des 343, est une pétition française parue le 5 avril 1971 dans le no 334 du magazine Le Nouvel Observateur. C'est, selon le titre paru en une du magazine, « la liste des 343 Françaises qui ont le courage de signer le manifeste “Je me suis fait avorter” », s'exposant ainsi à l'époque à des poursuites pénales pouvant aller jusqu'à l'emprisonnement, car l'avortement en France était illégal à l'époque.

C'est un appel pour la dépénalisation et la légalisation de l'interruption volontaire de grossesse qui ouvre la voie à l'adoption de la loi Veil.

Le texte

Le manifeste, rédigé par Simone de Beauvoir, commence par ces phrases :

« Un million de femmes se font avorter chaque année en France.

Elles le font dans des conditions dangereuses en raison de la clandestinité à laquelle elles sont condamnées, alors que cette opération, pratiquée sous contrôle médical, est des plus simples. On fait le silence sur ces millions de femmes. Je déclare que je suis l'une d'elles. Je déclare avoir avorté.

Suivent les 343 signatures de célébrités, notamment celles de personnalités telles que Catherine Arditi, Françoise Arnoul, Florence Asie, Brigitte Auber, Stéphane Audran, Colette Audry, Tina Aumont, Hélène de Beauvoir, Simone de Beauvoir, Cathy Bernheim, Valérie Boisgel, Olga Bost, Claudine Chonez, Iris Clert, Marie Dedieu, Lise Deharme, Christine Delphy, Catherine Deneuve, Dominique Desanti, Marguerite Duras, Françoise d'Eaubonne, Françoise Fabian, Brigitte Fontaine, Antoinette Fouque, Luce Garcia-Ville, Claude Génia, Françoise de Gruson, Gisèle Halimi, Katia Kaupp, Bernadette Lafont, Danièle Lebrun, Annie Leclerc, Violette Leduc, Marceline Loridan, Judith Magre, Michèle Manceaux, Geneviève Mnich, Ariane Mnouchkine, Claudine Monteil, Jeanne Moreau, Michèle Moretti, Liane Mozère, Nicole Muchnik, Bulle Ogier, Marie Pillet, Marie-France Pisier, Micheline Presle, Marthe Robert, Christiane Rochefort, Yvette Roudy, Françoise Sagan, Delphine Seyrig, Alexandra Stewart, Gaby Sylvia, Nadine Trintignant, Irène Tunc, Agnès Varda, Catherine Varlin, Ursula Vian-Kübler, Marina Vlady, Anne Wiazemsky, Monique Wittig.

Une note en bas de page indique que « parmi les signataires, des militantes du “Mouvement de Libération des Femmes” réclament l'avortement libre et GRATUIT ».

L'idée a été lancée par Jean Moreau, chef du service documentation du Nouvel Observateur lors d'une discussion animée avec la journaliste Nicole Muchnik un soir de juin 1970 dans la salle de rédaction du quotidien, et Simone Iff, alors vice-présidente du planning familial, s'est fortement mobilisée à titre personnel pour obtenir un maximum de signatures de célébrités.

L'article français est un exemple notable de désobéissance civile en France. Aucune des signataires n'est poursuivie. Il a inspiré en 1973 un manifeste de 331 médecins se déclarant pour la liberté de l'avortement.

Source: https://fr.wikipedia.org/wiki/Manifeste_des_343

https://www.nouvelobs.com/societe/20071127.OBS7018/le-manifeste-des-343-salopes-paru-dans-le-nouvel-obs-en-1971.html

****************

Manifesto of the 343

The Manifesto of the 343 (French: manifeste des 343), also known as the Manifesto of the 343 Sluts, was a declaration that was signed by 343 women advocating for reproductive rights and admitting to having had an abortion when abortions were illegal in France, thereby exposing themselves to criminal prosecution. The manifesto appeared in the French magazine Le Nouvel Observateur on April 5, 1971. It was also known in an alternate English translation of the word "salopes" as the "Manifesto of the 343 Bitches".

The text

The text of the manifesto was written by Simone de Beauvoir. It began (as translated into English):

One million women in France have abortions every year. Condemned to secrecy, they do so in dangerous conditions, while under medical supervision, this is one of the simplest procedures. Society is silencing these millions of women. I declare that I am one of them. I declare that I have had an abortion. Just as we demand free access to contraception, we demand the freedom to have an abortion for free.

Impact

The week after the manifesto appeared, the front page of the satirical weekly Charlie Hebdo carried a drawing attacking male politicians with the question "Qui a engrossé les 343 salopes du manifeste sur l'avortement?". ("Who got the 343 sluts from the abortion manifesto pregnant?") This drawing by Cabu gave the manifesto its nickname.

It was the inspiration for a February 3, 1973, manifesto by 331 doctors declaring their support for abortion rights:

We want freedom of abortion. It is entirely the woman's decision. We reject any entity that forces her to defend herself, perpetuates an atmosphere of guilt, and allows underground abortions to persist ....

It contributed above all to the adoption, in December 1974-January 1975, of the "Veil law", named for Health Minister Simone Veil, that repealed the penalty for voluntarily terminating a pregnancy during the first ten weeks (later extended to twelve weeks).

Source: https://en.wikipedia.org/wiki/Manifesto_of_the_343

*********************************

To read all manifesto in French: https://www.nouvelobs.com/societe/20071127.OBS7018/le-manifeste-des-343-salopes-paru-dans-le-nouvel-obs-en-1971.html

Photos from pinterest and http://referentiel.nouvelobs.com/archives_pdf/OBS0334_19710405/OBS0334_19710405_005.pdf

Further reading (in French): http://histoiregeographieapaulclaudel.blogspot.com.es/2014/02/une-loi-pour-les-femmes-la-loi-veil.html

8th MARCH, INTERNATIONAL WOMEN’S DAY

[vecchiorovere-blog]

Michelangelo Antonioni e Jeanne Moureau sul set di “La Notte”, 1961

[eglantiney]

Okay so I want to write this down before the new chapter drops in case new hints appear on it. 

This started as a crack “what if” theory between @xanataku​ and me but then we actually started finding “evidence” of it. 

There are many unknowns and uncertain things so I’m afraid this might be a messy post; please bear with me!

TL;DR: Johann is the spider. Dante’s involvement in the spider’s business is considered but there’s nothing to prove it.

It all began as I was rethinking the “Ruthven is Dante’s father” theory. Moreau is connected to Ruthven, which is to say Moreau’s experiments to turn humans into vampires (and possibly the opposite as well) are something within Ruthven’s interests, and we don’t know for how long it has been like that. Isn’t it possible that Ruthven had a child with a human to study the outcome? But this is not what I’m here to discuss today, although it could explain this panel here:

If you think about it, if the spider was a Dham, they could be seeking to become a full vampire or a full human, as it has been implied before that Dhams have been rejected by both humans and vampires.

Going back a bit, where does the idea that the spider is Johann come from?

Initially I always thought these two figures looked familiar:

Slender and tall + shorter and sturdier. Just like Johann and Dante! But that isn’t enough. And yet, if you pay attention...

During the bal masqué the spider recives a kick from Noé. Next time he shows up in a panel, he is holding his left arm (sorry about the low quality screenshot ahah), and from then on he doesn’t use it or move it at all. In every panel, his left arm is hanging as if it was broken.

After this incident, Noé and Vanitas have their meeting with Ruthven, are kicked out from Altus and return to their hotel. And one week later...

Johann’s left arm is broken. This is where it becomes hard to say if the person in the plague doctor mask is Dante or not. There is no one to confirm if Johann’s story (that he got his wounds after being kidnapped by Moreau’s men) is true, but Riche does confirm Dante’s story. It could be that she is covering up for him, though. 

At this point we were asking ourselves: if Johann and possibly Dante are working with Ruthven, why point Vanitas and Noé to Moureau’s laboratory, which led to its destruction? That seems counter productive. We considered a couple of possibilities:

The more plausible: Dante was ordered to by Marquis Machina.

For some reason, Machina wants Vanitas to be involved in these incidents. It could be that Machina and Ruthven work together, so maybe they wanted to bring Vanitas to Dr. Moureau to get a hold of the book. 

It could also be that Machina and Ruthven don’t work together, and in that case I doubt Dante would be the man in the plague doctor mask. If Ruthven and Machina, and therefore Johann and Dante, have different agendas, it would make sense for the Dhams to provide info to Vanitas and Noé without Johann objecting to it (he wouldn’t be able to reveal himself as the spider).

The least plausible: All they knew is that the Chasseurs had been kidnapping vampires, so it could be that they wanted to make Noé and Vanitas clash with them for a personal reason: 

If Johann is the spider... the scumbag would be Noé.

The next time we see the spider is in Dr. Moureau’s laboratory and, suspiciously, instead of punching like he did in the bal masqué, this time he uses kicks, only uses his right arm to grab Moureau and has his left arm covered by a cloak all the time:

There is something else that has been bugging me for a while too... the spiders outfit. Until yesterday I thought it was a chasseur outfit, but it definitely isn’t.

I’m only putting a picture of Roland here, but I’ve checked the outfits of all the other chasseurs and they all look the same. The priest collar, the buttons all the way to the bottom, the sash. The spider doesn’t have any of those things. The one thing he does have is the cross around his neck, and it makes me wonder if it’s in an attempt to mislead other people.

Moving on, the next time we see Johann is in the way to Gevaudan. During this arc we’ve seen a side of him that isn’t as sweet as the one we are used to. 

One of the things that kept making me doubt this theory is that the spider’s personality when he was with Ruthven never matched Johann’s, but this here does seem closer to how the spider acts.

Then, when Naenia appears for the first time. Vanitas attempts to use the book to get rid of her, and someboy throws a dagger breaking the book of Vanitas’s chain. 

Right before this happens, during Charlatan’s parade, we can say for certain where everyone is: A few pages before we see Johann and Dante together, back to back. Jeanne is with Vanitas who just saved her from Astolfo. Astolfo and Marco are together, and Noé is with Naénia. Vanitas takes out his book, the chain is cut, triggering a massive reaction, and then...

Johann is gone. The fact that he isn’t with Dante anymore makes me think that they aren’t working together in this. They meet again later in the cabin in the forest, but during the current chapters Johann is once again nowhere to be found. Where is he and what is he doing?

All in all, Dante’s attitude in general makes me doubt he is involved in Ruthven’s business at all. He seems to get along too well with Vanitas to be siding with a group interested in getting rid (or something similar) of him. It does seem like they’ve known each other for quite a long time, too. Johann, on the other hand... I get the feeling he would do anything for his family, but doesn’t care about anybody else. I can see him collaborating with Ruthven for their sake.

If I’m not forgetting anything, that should be all ahah. I would love to hear what others think or make of this. I don’t think any of this really is solid evidence against Johann and Dante, but it’s definitely very very suspicious, and I’m certainly not going to take my eyes off them for the remainder of this arc!

PS: Oh and let’s not forget that Dante just stole a few drugs from a chasseur for a still unknown purpose. It might be good to remember it.

[powwidge]

again, only uploading this for @exicio lol. everyone else probably won’t understand this anyways so don’t even try to read

“Noé, are you really sure about this? Vanitas, you too?” My mother nodded and took my hand.

“Jeanne, you've asked him that for the fifth time now! Dad is not stupid and he knows what he's doing!” My mom snorted at that and ruffled Anouk's hair. I held onto her hand as if it was my whole life.

“Well, I'm going then”, Domi sighed and took Anouk into her arms to carry her with her. It was better if she wasn't here for this. She was too young, she was only six.

Now it was only Jeanne, my mother and Vanitas. “Noé”, she whispered, stroking my cheek and quickly kissing me once, “do you really want me to go?”

I nodded and with my free hand, I stroked her cheek too.

“No. Sorry. But this is for mom and me.” She kissed me once again.

“Don't apologize, chéri. It's ok. Just don't cry, yeah? You know that this is a stupid decision.”

I slightly smiled at her.

“I know. But I need to do this. I never talked to him when I knew who he was because I didn't have the chance too. And I just... I need to do this, Vani.”

She nodded and sighed.

“Ok. Then... good luck, hm?”

Now I kissed her. I couldn't even express how happy I was to have her in my life, to have found her.

“Until later, hm?”

She nodded, pressed my hand, then she walked out of the room. I heard her talking to Domi, Anouk and Alexis.

My mother was clinging to my hand as much as I was clinging to hers.

“Ok”, Jeanne sighed, “then I'm going to start now, ok? I can't promise you two how long I can keep this up, yeah?” We nodded and then, she cast the spell.

I closed my eyes at the magic in the room. Even after years of having my own magic back, it still felt weird sometimes.

And when I opened them, he was there. Just like I remembered him. With his dark red hair splaying around his shoulders, framing his face, the eye patch hiding the hollow eye socket.

All the memories came back to me and I was drowning in them, drowning in the memory of how Louis had died, how Riche and Dante had died, how Domi had almost died, how she had looked after he had tortured her.

I broke down onto my knees, with my hands on my head. I heard my mother kneeling down next to me, stroking my hair and my back.

“It's ok, love, it's ok”, she whispered and then I managed to look up at him.

He was looking down at us, not showing any reaction.

“Why did you... do this”, he asked and his voice was choked, I didn't know if it was because of tears or because of rage.

“Because we wanted to talk to you”, Mom said, still holding me close to her, “because we want to know why you did those things. And why you couldn't just accept your son. He's our son, August.” I had never known that his first name was August. August, the month in which he had died. August, the month full of sun, the start of autumn.

“I-”, he said, “I'm so glad you're alive, Vanitas.”

I could feel her shaking her head.

“Thanks to you. Why did you do this though? Why didn't you take care of him like a father's supposed to be?”

He sighed, kneeling down too. I didn't want him to get any closer.

I could barely hold back the tears in my eyes.

“I took care of him for one year. I couldn't do it. Not when you were dead. I couldn't... it hurt. But I did it nonetheless. And that made me hate him. And I'm sorry. I know that... you won't forgive me. I never forgave myself either.” “Why did you kill Louis?”, I sobbed, standing up now, pulling him up by his collar. It was almost as if he was alive.

“Why did you kill him? I loved him! I... loved Louis!”

My mother stared at me in shock. Right. I had never told her that I had been in love with him. I didn't know who I loved more – Vanitas or him. But it hurt.

Everything about the thought of this loss hurt. Even though Vanitas had been there for him in the last twenty years.

I held him, I was shivering so hard because of how angered and frustrated I was, because of how much pain I was in.

“Why did you-” “I just wanted to get myself killed. And in the meantime I did research for how to get your mother to live again. And this only worked when I had... dead persons.” “Why him?”

I know that I was just screaming by now, Jeanne was obviously concerned.

“Because I thought that you should hurt as much as I am!”

I let go of him and looked away. Yes. He was exactly what I had expected.

“I regret that one time you carried me more than anything else”, I whispered, contemplating whether I should spit into his face or not. But no, I was better than that.

A lot better. Also I was an adult, so I couldn't do this.

“I'm sorry. I'm not lying for once I'm sorry. I hate myself for what I've done, believe me. I know that it won't bring back anyone. I... you know how love feels, right, Noé?” He had never called me that when he was still alive. He had always called me 'Archiviste'. Even though my last name could have been 'Ruthven'.

“I do. I wouldn't kill for it. When someone's dead, I would leave him dead. Just like I did with Louis. I never tried to resurrect him. Because dead people... should stay dead.” That was what Vanitas had always told me. That's what she had taught me, even thouh I was still wondering if I would ever have fallen in love with her if he had still been here.

“I did. And I know that it was wrong. I did all of this just to finally get myself killed because I couldn't kill myself. Believe me I've tried. I've tried, Noé. And I was not the one who killed them. That was him. Louis escaped the laboratory. I admit that we... didn't do him any good, but it was Moureau. You're free to believe me or not. I know about my fault, but the deaths are not mine. I just didn't want to live anymore.” And suddenly everything happened quickly. Mom walked over to him and slapped him, just like that. She slapped him and then she kissed him, holding him close, pushing him into her, then she slapped and kissed him again.

I just stared.

I couldn't do anything else. She took his hands and held onto them, almost as if they were Dad's.

“I loved you”, she said, her voice drowning in tears, “I really did. But I wasn't able to stay at Hogwarts. I wanted you to be the one to raise Noé. Together with him. I wanted you to know that he was your son but I never got the chance to tell you so you thought that it was his son, right? So you killed all those people to hurt him because I was in a relationship with him and not you, right? I loved you. I loved both of you, August.”

He pulled her into a hug. I didn't know what to do. My mother... still loved him? After everything he did to me? “Yes. I... didn't want to admit that it was because of him. I hated him. I hated him with everything I had because he had you for himself but I didn't. And now I'm dead. And you married him. And Noé is an adult man. It's over. I know that I did wrong. I wanted to die. And hurt him. I wanted to hurt him.” Mom sobbed into his shoulder, still clinging to him.

“I can't forgive you any of this”, I said, “but I'm glad that you know what you have done. I'm glad that you're at least sorry.”

He looked at me, as if he had suddenly realized that I was really, truly there.

“How old are you?” I stared at him, still unsure what to think of him. I would never be able to forgive him and I knew this, but on the other side... he had just been hurt.

“Thirty-five”, I breathed out, “I... have a daughter. Anouk.”

And then there was a smile on his face. A smile, even though Mom was still crying, still clinging to him as if he was the most important person she had ever met.

I didn't know, after all. Maybe he was.

“I'm glad to know this. If I could make everything undone, I would. Believe me... I would. For her and for you. How old is she?” “S-six”, I stuttered, not knowing what to do with him suddenly being so nice. Was this who he had been before she had died? Was this the father I could have had if she hadn't died?

“She's wild”, Mom added, letting go of him now, only putting her hand to his cheek, “just like we were when we were kids.”

Ruthven chuckled slightly.

I didn't know what to do. All of this was destroying me.

He had been broken simply... because she hadn't been there?

“I'm sure she is a good girl if she has parents like that. What about you, Jeanne?” The girl who was sitting in the corner stared at him in shock, stared at the person who had raised her more than he had raised his own son.

“I-” She was trembling, trembling because the spell took all her power. I walked over to her and gave her my hand and my magic. She immediately calmed down.

“I married Domi. We adopted a boy. You almost killed me back then.” The tears in her eyes were clearly visibly and I gently stroked them away. I know what she had gone through back when we were still teenagers.

But we were adults now. Older than thirty already. With our own children who would soon go to Hogwarts themselves.

“I'm truly sorry. For everything that I've ever done to hurt you. It was wrong. I know. I don't deserve any of you. Especially not you, Noé.” “What...?”, I said, feeling tears in my eyes myself, “but... you hate me!” “This is why I don't deserve you. Even though you know that I can't fully accept you as my son, you still told Jeanne to get me here for a few minutes. And... if this isn't strong, then I don't know.” “I-”, my voice didn't work properly, “I... hated how you smelled back then when you carry me. You smelled like coffee and garlic. I hate both. I... hated you, but... you were warm”, I didn't know what I was saying anymore, “and I think that... back then... deep inside I knew that... it was you. Because I remembered the smell. Because it was around me for that one year you took care of me so... thanks for that. Thanks for at least that.”

Now it was Jeanne who was wiping away my tears. I was feeling dizzy and Jeanne was also seemingly pale. That was it. We needed to stop.

I pressed her hand and my mother was still clinging to him even when I let go of the magic in my hand, even when Jeanne let go of it, even when he walked over to me and faded away right before he could touch my shoulder with his hand.

“Dad, you look awful and I don't think that it was a good idea to do whatever you did”, Anouk stated when I walked into the living room, so I took her up and sat down next to Vanitas with her. I leaned against Vanitas' chest, burying my head in her neck and she just stroked my hair. Anouk struggled, but I didn't let her go. I loved them so much. Both of them. This was my family and I loved them so much that I would die for them. I could understand Ruthven at least this much.

“Vani... I love you. So much.” She didn't answer and just kept stroking my hair. Yeah. I didn't need an answer to know that she felt the same about me, even after all those years.

“What did he say?”, she whispered and kissed my cheek.

“That he's sure Anouk is a good girl with us for her parents.” She chuckled and put her arm around Anouk's back as well.

“Oh, he clearly doesn't know her.”

[clrfbranco]

Jeanne Moureau

[therandompieces]

Pink Floyd with Jeanne Moureau

[nodigonimu]

Jeanne Moureau en Ascensor hacia el Cadalso. Louis Malle, 1958

[vitabrevis-carpediem]

Jeanne Moureau

[powwidge]

Same thought here. I can understand that he wants to kill Moureau but Jeanne and Noé??? xD

Is there someone that Vanitas doesn’t want to kill? XD

[tina-aumont]

Aquarius

Tina Aumont

Aquarius dominates intellectually, is seductive in its unscrupulousness, is eccentric, but not for the sake of amazement, but for the need for a different life, outside the canonical schemes and roles. Intimidates. It is respected. It disturbs a little. It makes people talk about themselves. Here is Colette the "different" seritatrice. Here is Juliette Greco, the intellectual disguised as a singer. Here is the enigmatic Kim Novak, the mysterious and fascinating Jeanne Moureau. Here, no less murky and no less fascinating, is Tina Aumont, who, in order to follow her life freely, is also willing to question her career, but is currently working on a film by Piero Nelli which is titled "Il Passatore".

Tina Aumont pictured by Elisabetta Catalano for Vogue Italia, December 1976. E-bay.

Tiny pics came from elisabettacatalano.it/servizi/a/Aumont_Tina/index.html however this site doesn’t work anymore and it seems it has been relocated here: http://archivioelisabettacatalano.it/archivio-elisabetta-catalano.html although these pictures are not there.

[pinkfloydhq]

Pink Floyd with Jeanne Moureau

[efe-es1405-yahoopartner-blog]

Jean-Louis Trintignant se retira del cine con 87 años y vencido por el cáncer

París, 19 jul (EFE).- Uno de los grandes nombres del cine francés, Jean-Louis Trintignant, famoso por "Rojo", "Amor" y "Z" y premiado en los festivales de Berlín y Cannes, anunció hoy que a sus 87 años se retira del cine y desveló que no tiene fuerzas para luchar contra el cáncer que padece. "El cine para mí acabó", sentenció en una entrevista en el periódico "Nice Matin" el intérprete, cuyo último trabajo se estrena este viernes en España: "Happy End", de Michael Haneke, el mismo cineasta con el que trabajó en la premiada "Amor" (2012), con la que ganó el César a mejor actor en 2013. En declaraciones a los medios tras presentar "Happy End" en el Festival de Cannes, Haneke dijo de Trintignant que era "un gran actor y un increíble ser humano". Trintignant contó que acaba de rechazar una propuesta del director francés Bruno Dumont. "Tuve miedo de no dar la talla físicamente. Ya no logro desplazarme yo solo", confesó el veterano actor, galardonado en 1969 en Cannes por su papel en "Z", Costa Gavras, y en Berlín en 1968 por su actuación en "El hombre que miente", de Alain Robbe-Grillet. Trintignant, que también intervino en célebres cintas como "Y Dios creó a la mujer" (1956), confesó además que ha dejado de luchar por un cáncer que se trata en Marsella (sur de Francia). "Me dejo llevar. No voy a hacer la quimioterapia, aunque esté físicamente listo", contó el intérprete, quien reconoció que la muerte de su hija le robó las ganas de vivir. "Hace 15 años que estoy muerto", dijo el actor, en alusión al fallecimiento de Marie, que murió en 2003 a causa de un edema cerebral tras una paliza de su compañero sentimental, Bertrand Cantet, que fue condenado a ocho años de prisión por homicidio voluntario. Asimismo, reflexionó acerca del trabajo de intérprete que comenzó a desempeñar desde los años 50. "Era muy tímido. Después la notoriedad nunca me interesó. Es divertido la primera vez que te conocen, luego cansa. ¿Por qué nos dan premios? Estamos lo suficientemente bien pagados. Sería mejor dar los Óscar a los que hacen trabajos nada divertidos", juzgó. Nacido en Piolenc, en la Provenza francesa, en 1930, comenzó a estudiar Derecho pero a los 20 años abandonó la universidad para instalarse en París y comenzar a prepararse como actor y director de cine. Comenzó su carrera en el teatro y despuntó pronto en el cine con "Y Dios creó a la mujer" (1956), de Roger Vadim, donde interpretaba el papel de tímido esposo de Brigitte Bardot. Tras pasar tres años cumpliendo el servicio militar en Argelia, se metió de lleno en la Nouvelle Vague del cine francés y trabajó a las órdenes de directores como Eric Rohmer, René Clement, Claude Chabrol o Philippe Coudroyer. Pero sería la delicada "Un hombre y una mujer" (1966), de Claude Lelouch, junto a Anouk Aimée; "El conformista" (1970), de Bernardo Bertolucci, y "La escapada" (1974) de Michel Soutter, las que le situaron como uno de los principales actores europeos. "La terraza" (1980), "La noche de Varennes" (1982) y "Entre el amor y la muerte" (1981), las tres de Ettore Scola; "La mujer del domingo" (1975), de Luigi Comencini, o "Mata Hari" (1964) y "Las relaciones peligrosas" (1959), ambas junto a Jeanne Moureau, son otros de sus títulos más conocidos. Se casó con la actriz Stéphane Audran y una segunda vez con la realizadora Nadine Marquand, de la que también se separó y con la que tuvo tres hijos, Vincent, Pauline, que murió antes de cumplir un año, y Marie. EFE

[powwidge]

What Noé knows about Vanitas

Vanitas "has given up on something"

He wants to take revenge on the vampire of the blue moon.

He was marked by votbm and by jeanne

His parents were killed by a vampire

He became a chasseur

He became a test subject with doctor moureau and was no. 69

He's not stable (who wants to be saved more than anyone might be Vanitas himself)

He hates the archiviste family / anybody who could see his memories

He's manipulative (mémoire 19 when Noé realized he would betray him or whatever)

He likes high places.

He detests sweet things.

He likes oysters