Catherine Deneuve and Francois Truffaut - Dating, Gossip, News, Photos
CATHERINE DENEUVE - all about her life and films. Within a month, however, their relationship was over and they broke off contact. Returning to France, Deneuve began work on Francois Truffaut's La Sirene du Mississippi (Mississippi . Help us build our profile of Catherine Deneuve and Francois Truffaut! Login to add information, pictures and relationships, join in discussions and get credit for. FRANCOIS TRUFFAUT was one of the founders of the French New Wave, and This, combined with the break-up of his relationship with Catherine Deneuve in.
Shame that Francois is no more here, it would have been great to make another film with him. Lots of your mates like Belmondo or Delon were successful on stage. You had no ambition to follow them?
Although my mum was a theatre actress from her young age I was always stage fright. When I saw some of my mates how much it mentally cost them to get into the character and out of it again and how they looked after performance I knew this is not for me.
Which of your films you enjoyed the most to work on? Apart from aforementioned Last metro, it surely was Umbrellas at Cherbourg, which was directed by Jacques Demy in I had only six movies under my belt by that time, but this one significantly moved my career upwards and forwards. It was like an opera and there was music even during rehearsal which was pretty unusual and I have never experienced it before or after. It was nice and simple. It seems you were successful in anything you put your hands on, business, fashion, film.
Is there anything you were longing for in your life but it slipped through your fingers? I think I was very fortunate since from beginning of my career I was working with interesting directors. With fashion I am no more involved apart the fact I was life- long friend and muse of Yves Saint Laurent. As everybody I had tough times and good days in my life. How did you enjoy playing in same movie with your daughter Chiara?
How do you view current hysteria of Me Too campaign? I signed a petition with other artists in Le Monde papers since I wanted to avoid being asked any more questions after that.
I think, internet is very dangerous these days and you have no control over what you say, since they can take it out of context and it could hurt innocent people. These days many actresses turn into director. Have you ever toyed with idea of following them? Of course there are good films made and technically I know, what does it take to direct a film, but I have no desire to do it, I am interested in acting.
In she gave birth to a daughter by him who they named Chiara.
FRANCOIS TRUFFAUT - French New Wave Director
They eventually split up inalthough the two remained friends until his death in In she made a rare appearance in a Hollywood film, playing opposite Burt Reynolds in the crime drama Hustle. Although reviews were decent, the film made little impression at the box office.
He died the following year. In choosing Catherine Deneuve to play Marion Steiner, the lead actress and manageress of the theatre company, Truffaut commented: She seems to suggest her secret inner life is at least as significant as the appearance she gives. Co-starring David Bowie and Susan Sarandon, the film received mixed reviews on its release but has since garnered a cult following, not least for the erotic sex scenes between Deneuve and Sarandon.
She now has three more grandchildren: In the s, Deneuve gave one of her best performances playing an upper-class plantation owner who gets caught up in the political upheavals of Vietnam between the s and s in Indochine The result was her supporting role as a factory worker and friend to the lead character played by singer Bjork in Dancer in the Dark The film polarized critics who either loved or hated it.
Through friends he made at the club, he secured his first assignments as a journalist at Elle magazine. Despite the more exciting lifestyle and increased income that came with his new occupation, Truffaut soon became weary with the superficiality of the kind of journalism he was writing.
He was also drained by his unrequited passion for Liliane. On July 4th, he attended her 18th birthday party, which turned into a farcical scene of intrigue, as her various suitors fought for her attention. For the frustrated Truffaut, the evening ended with a failed suicide attempt.
A few weeks later he decided to try and forget Liliane by joining the army. A Rash Decision Within days, Truffaut was regretting his decision.
He had enlisted for a three year term in the artillery, which would entail time months of basic training in the army barracks in Coblenz, Germany, followed by a tour of duty spent fighting the war in Indochina. During his training Francois spent much time in the infirmary suffering from sinus and hearing problems, but by Mayhe was pronounced fit for duty by the military physician, and his departure for Saigon was set for July 14th.
While on leave in Paris, he made up his mind to desert. After two weeks staying with various friends, Bazin convinced him to give himself up to the authorities. He was charged with illegal absenteeism and sent to prison, where he spent a month in hospital being treated for another bout of syphilis. Following his cure, he was returned to Coblenz and locked up in the disciplinary area. It was a wretched time in which Truffaut again attempted suicide. This attempt landed him in the Andernach hospital neuropsychiatric unit.
Truffaut spent a month and half there watched over by unsympathetic male nurses. On November 27 he was released and sent back to the barracks. Meanwhile, in Paris, Andre Bazin tried to rescue Truffaut from his plight. His appeals to the military authorities were fruitless. It was only when he enlisted the support of influential friends that Truffaut was brought before the board. After a two hour hearing before his superiors, he was finally given a temporary discharge.
While holding down a series of short term jobs, he set himself the objective of writing for Cahiers du cinema, the magazine founded by Jacques Doinel-Valcroze and Andre Bazin.
Eventually published in Cahiers in Januaryit had an immediate and widespread impact. He accused them of being anti-clerical, blasphemous, sarcastic and bent on deceiving their public. Their psychological realism was, Truffaut bluntly declared, neither real nor psychological.
Between March and NovemberTruffaut published articles in Cahiers, mostly film reviews of five to six typewritten pages, or interviews with directors. His writing was forthright, focused and opinionated. Principally among these was the right wing Arts-Lettres-Spectacles for whom he wrote articles over five years.
A film a day, an article every other day, this was the pace the young man kept up, working every night, fuelled by cigarettes and coffee. His critical judgements also made him some enemies amongst those targeted. Amongst left-wing intellectuals, he was considered a reactionary who valued aesthetics over content. Behind the Lens Though a successful critic, Truffaut nurtured the desire to become a director.
The story was about a young man who moves in to share a flat with a young woman and makes an unsuccessful pass at her.
Truffaut used the film as a training exercise and did not think it worthy of distribution. Francois had chosen a story entitled Les Mistons by Maurice Pons which he wanted to adapt into a film. Madeleine asked her father to help in funding the project. He passed the job to his colleague Marcel Berbert, but more importantly insisted that a company be created to receive money and manage production of the film.
Having his own production company was to become crucially important to Truffaut, ensuring an almost unique independence throughout his directorial career. Filming on Les Mistons began in Nimes on 2 August and continued throughout August with a small team and a modest budget.
The actors were Gerard Blain and Bernadette Lafont. Jealous of her passionate affair with her boyfriend, they make mischief for the two of them.
Although only 20 minutes long, Les Mistons featured many of the themes that Truffaut would return to again and again in his movies: His use of composition, lighting, music and setting, combine to create a satisfying narrative whose episodic structure perfectly conveys the underlying motifs and emotions. Meanwhile Francois and Madeleine Morgenstern had fallen in love during filming and that autumn they were married.
At twenty-five, Truffaut had finally settled down. The couple moved into the apartment that Ignace Morgenstern had bought for his daughter on run Saint-Ferdinand. The three-room apartment was comfortable and tastefully furnished, and, most importantly, finally allowed Truffaut space for all the books and files he had accumulated since childhood.
In the same article he wrote: The Blows In collaboration with Marcel Moussey, an experienced writer, Truffaut wrote a screenplay based on his own childhood experiences that he called Les Quatre cents coups The Blows. The episodic story follows the adventures of thirteen year old Antoine Doinel, through his trouble-making in school, his unhappy home life, various escapades he gets up to while playing truant, and finally his confinement and then escape from reform school.
With the screenplay complete Truffaut set about hiring cast and crew. The hardest challenge was finding a child actor to play Antoine Doinel.
Several hundred children were auditioned before the thirteen-year-old Jean-Pierre Leaud was chosen. His spirited and spontaneous screen test, as well as his close resemblance to Truffaut at the same age, made him the natural and definitive choice for the part.
Filming began on November 10th, That night Andre Bazin died of leukaemia. Truffaut rushed over to the Bazin apartment at the end of the day and spent the night with the family, before returning the next day to resume filming. On November 16th, the day of the funeral, he wore a black suit while directing.
A couple of weeks later, Madeleine Truffaut gave birth to a little girl who they named Laura. Editing of the film was complete within a couple of months and early test screenings were enthusiastic, so much so in fact, that the film was included as one of the official French entries to Cannes. Les Quatre cents coups was widely acclaimed on its release, winning numerous awards, including the Best Director Award at the Cannes Film Festival.
With success, however, also came hostility. Some criticized him for becoming what he had previously fought against. Tossed in granulated sugar, tamed and sweetened, what will be left of the former Truffaut?
His parents too, perhaps unsurprisingly, were hurt by the way they had been portrayed and wrote him a letter demanding an explanation. He wrote them back a long confessional letter full of detailed memories of his unhappy childhood to justify the film. He could now afford a larger apartment in a more fashionable area of Paris, expensive clothes, a sports car, and an expanding collection of records and books. Additionally, interest in the film from abroad gave him the opportunity to travel.
Doomed Love As the acclaim died down, Truffaut was eager to begin work on his next film. The story, which concerns a melancholy piano player in a late night bar with a secret past who gets mixed up with gangsters, appealed to Truffaut on several levels.
Here was a chance to make his own film noir like those he had spent so many years watching and discusssing. At the same time, the story explored classic Truffautesque themes, such as the elation and despair of love, the difficulty of communication, the resilience of children. There is also more than a little resemblance between Truffaut and the main character Charlie, and between Truffaut and Charles Aznavourthe actor who played him in the film. Both are shy men with troubling pasts who are drawn to women but find it hard to talk to them, and both have tasted early success which they suspect may owe more to the influence of others than their own talent.
Having realised half way through filming that he hated gangsters, Truffaut set about subverting the genre. There are constant changes of pace and mood. Extended voice-overs, out-of-sequence shots and sudden jump cuts disrupt the action. Inin large part due to events connected with the Algerian war, Francois Truffaut started to move to the left ideologically. As far as the government, the army, and much of public opinion were concerned, the declaration was treasonous, and those who had signed were put on a blacklist and banned from working.
Truffaut was summoned to police headquarters, but thanks to campaigns in the French and international press, the sanctions against himself and the other signers of the manifesto were soon lifted.
For his next film, Truffaut turned to a project he had been preparing for some time: He had first come across the book during the mid s whilst browsing through some second-hand books and later befriended the elderly author. The story, which takes place in the belle epoque period in Paris, is about close friends Jules and Jim, who both fall in love with the beautiful, free spirited Catherine.
Working with Jean Gruault, a writer he admired, Truffaut finally got a screenplay that he was happy with, and then quickly assembled a team.
He chose Henri Serre to portray Jim; a young, as yet unknown actor who was performing in a comedy duo at the time, and who resembled Roche in both looks and manner. In the role of Jules, he cast Oskar Werneran acclaimed stage actor in Germany and Austria who had yet to make an impact on screen. However, the real star of the film was Jeanne Moreauwho was born to play the enigmatic Catherine. Truffaut had first become friendly with Jeanne Moreau some years before at Cannes in He was fascinated by her, partly because she was a major star, and partly because of her sense of freedom and love of life.
Their close bond developed into a passionate, if brief, love affair, which, by the end of filming, had evolved into an enduring friendship. Among those singing its praises was Jean Renoir, who wrote him a long letter from Hollywood. The critics echoed the positive response. The film proved popular with audiences too, despite an 18 certificate. After its French opening, Truffaut travelled widely abroad to promote the film, which continued to receive a warm reception wherever it played.
He decided to use the opportunity to continue the adventures of Antoine Doinel, drawing on his own youthful memories for the story, in particular his thwarted love for Liliane Litvin. Shot quickly in January and again staring Jean-Pierre Leaud, Antoine et Colette is both a bittersweet coming of age story and a vivid evocation of Paris in the early s.
Taking Sides By there was a crisis of confidence in French cinema. Attendance at movie houses had dropped sharply and the euphoria of the New Wave had all but disappeared with the once unified movement, now fragmented by rivalries.
Symptomatic of the crisis was a conflict in which Truffaut himself was involved. Aurel walked off the set denouncing the behaviour of Vadim and Bardot.