Moreau, Jeanne 1928–
MOREAU, Jeanne 1928–
Born January 23, 1928, in Paris, France; daughter of Anatole–Desire (a restauranteur) and Katherine (a dancer; maiden name, Buckley) Moreau; married Jean–Louis Richard (an actor, writer, and director), 1949 (divorced, 1951); married Teodoro Rubanis (divorced, 1977); married William Friedkin (a director, writer, and producer), 1977 (divorced, c. 1980); children: (first marriage) Jerome Richard (a painter). Education: Attended Conservatoire National d'Art Dramatique, 1946. Avocational Interests: Cooking, reading, social causes.
Agent—William Morris Agency, 151 El Camino Dr., Beverly Hills, CA 90212; Budd Burton Moss, Shapiro–Lichtman, 8827 Beverly Blvd., Los Angeles, CA 90048; Guy Bonnet, Agents Associes, 201 rue du Faubourg Saint–Honore, 75008 Paris, France.
Actress, director, producer, and writer. Comedie Francaise, Paris, member of the company, 1948–52; Theatre Nationale Populaire, Paris, member of the company, 1953; Cannes International Film Festival, Cannes, France, president, 1975 and 1995; Moreau Productions, cofounder, 1982; Capella Films, founder, 1982; Berlin International Film Festival, president of the jury, 1983; French Film Advances Commission, president, 1993–94; Equinoxe, president. Singer and recording artist; appeared in concert at Carnegie Hall, New York City, 1984. Appeared in advertisements and director of television commercials.
Academie des Arts et Techniques du Cinema (president, 1986–88), Academie des Beaux Arts.
Best Actress Award, Cannes International Film Festival, 1960, for Moderato cantabile; named best foreign performer, Fotogramas de Plata, 1961; Film Award nomination, British Academy of Film and Television Arts, best foreign actress, 1963, for Jules et Jim; Film Award, British Academy of Film and Television Arts, best foreign actress, 1965, for Compartiment tuers; Film Award, British Academy of Film and Television Arts, best foreign actress, 1967, for Viva Maria!; nomination for Golden Berlin Bear, Berlin International Film Festival, 1979, for L'adolescente; Commandeur des Arts et des Lettres, 1985; Cesar Award nomination, Academie des Arts et Techniques du Cinema, best supporting actress, 1987, for La paltoquet; Moliere Award, best actress, 1988, for La recit de la servant Zerline; Cesar Award nomination, best actress, 1988, for Le miracule; named officier, Ordre Nationale du Merite et des Arts et Lettres, 1988; Moliere Award, 1988; named chevalier, French Legion of Honor, then named officier, 1991; Cesar Award, best actress, 1992, for La vieille qui marchait dans la mer; Career Golden Lion, Venice International Film Festival, 1992; International Award, Crystal awards, Women in Film, 1994; honored by retrospective exhibition of her films, Museum of Modern Art, 1994; honorary Cesar Award, 1995; Academy Fellowship, British Academy of Film and Television Arts, 1996; Lifetime Achievement Award, European Film awards, 1997; Donostia Lifetime Achievement Award, San Sebastian International Film Festival, 1997; honorary D.Arts, City University of New York, 1997; named one of the "100 best people in the world," Esquire magazine, 1997; tribute, Academy of Motion Picture Arts & Sciences, 1998, and Creteil International Women's Film Festival, 1999; Distinguished Achievement Award, Hamptons International Film Festival, 1999; Honorary Golden Berlin Bear, Berlin International Film Festival, 2000; Honorary Golden Palm, Cannes International Film Festival, 2003; Taormina Arte Award, Taormina International Film Festival, 2003; honorary doctorate, University of Lancaster; a Paris theatre bears her name.
Michele, Dernier amour (also known as Last Love), 1949.
Martine Annequin, Meurtres (also known as Three Sinners), 1950.
Paquerette, Pigalle–Saint–Germain–des–Pres, 1950.
Herself, Avignon, bastion de Provence (documentary; also known as Avignon, Bastion of Provence), 1951.
Suzanne Dubreuil, L'homme de ma vie (also known as The Man in My Life and L'uomo della mia vita), 1951.
Marie Winter, Il est minuit, Docteur Schweitzer (also known as Dr. Schweitzer and Schweitzer: Jungle Doctor), 1952.
Julie, Dortoir des grandes (also known as Girls' Dormitory and Inside a Girls' Dormitory), 1953.
Rosie Facibey, Julietta, 1953, released in the United States by Kingsley International, 1957.
Josy, Touchez pas au grisbi (also known as Don't Touch the Loot, Hands off the Loot, and Honour among Thieves), 1953, released in the United States as Grisbi, 1960.
Jeanne Plisson, "La billet de logement," Il letto (also known as The Bed and Secrets d'alcove), Pathe, 1954.
Marguerite de Valois (Queen Margot), La reine Margot (also known as Queen Margot, A Woman of Evil, and La regina Margot), 1954.
Mona Remi, Les intrigantes (also known as The Plotters), 1954.
Alice, Gas–Oil, 1955.
Fernande, M'sieur la caille, 1955.
Marianne Dejazet, Les hommes en blanc (also known as Doctors and Men in White), 1955, released in the United States by Kingsley International, 1956.
Angele Ribot, Le salaire du peche (also known as The Wages of Sin), 1956.
Gina, Jusqu'au dernier (also known as Until the Last One and Fino all'ultimo), 1956.
Agnes Vanaux, Demoniaque (also known as Demoniac, The She–Wolf, The She–Wolves, La lupa, and Les louves), 1956, released in the United States by Fernard Rivers S.A., 1958.
Florence, L'etrange Monsieur Steve (also known as Mr. Steve), 1957.
Jacqueline Tourieu, Echec a porteur (also known as Not Delivered), 1957.
Jeanne Fortin, Trois jours a vivre (also known as Three Days to Live), 1957.
Gloria Decrey, Le dos au mur (also known as Back to the Wall and Evidence in Concrete), 1958, released in the United States by Chavane, 1959.
Jeanne Tournier, Les amants (also known as The Lovers), 1958, released in the United States by Zenith, 1959.
Florence Carala, Ascenseur pour l'echafaud (also known as Elevator to the Gallows, Elevator to the Scaffold, Frantic, and Lift to the Scaffold), 1958, released in the United States by Times, 1961.
Woman with dog, Les quatres cents coups (also known as The Four Hundred Blows and Les 400 coups), Janus, 1959.
Juliette de Merteuil, Les liaisons dangereuses (also known as Dangerous Liaisons, Dangerous Love Affairs, and Relazioni pericolose), 1959, released in the United States by Astor, 1961.
Ljuba, 5 Branded Women (also known as Jovanka e le altre), Paramount, 1960.
Narrator, Matisse ou le talent de bonheur, 1960.
Mere Marie de l'Incarnation, Le dialogue des Carmelites (also known as The Carmelites, Dialogue with the Carmelites, and I dialoghi delle Carmelitane), Champs–Elysees Productions/Titanus, 1960.
Anne Desbaredes, Moderato cantabile (also known as Seven Days … Seven Nights and Moderato cantabile: Storia di uno strano amore), 1960, released in the United States by Royal, 1964.
Lidia and Pontano, La notte (also known as The Night and La nuit), Dino De Laurentiis, 1961, released in the United States by Lopert, 1962.
Woman in bar, Une femme est une femme (also known as A Woman Is a Woman and La donna e donna), 1961, released in the United States by Pathe Contemporary, 1964.
Catherine, Jules et Jim (also known as Jules and Jim), Janus, 1962.
Miss Burstner, Le proces (also known as The Trial, Der Prozess, and Il processo), 1962, released in the United States by Astor, 1963.
Eva Olivier (title role), Eva (also known as Eva, the Devil's Woman), Paris Film/Interopa, 1962, released in the United States by Times, 1964.
French woman, The Victors, Columbia, 1963.
Jeanne, Le feu follet (also known as The Fire Within, A Time to Live and a Time to Die, Will o' the Wisp, and Fuoco fatuo), 1963, released in the United States by Governor/Gibralter, 1964.
Cathy, Peau de banane (also known as Banana Peel and Buccia di banana), 1963, released in the United States by Pathe, 1965.
Jackie Demaistre, La baie des anges (also known as Bay of Angels and Bay of the Angels), Pathe Contemporary, 1964.
Compartiment tuers, c. 1964.
Celestine, Le journal d'une femme de chambre (also known as The Diary of a Chambermaid and Il diario di una cameriera), Cocinor, 1964, released in the United States by International Classics, 1965.
Christine, Le train (also known as John Frankenheimer's "The Train," The Train, and Il treno), 1964, released in the United States by United Artists, 1965.
Marchioness Eloise of Frinton, The Yellow Rolls–Royce, Metro–Goldwyn–Mayer, 1965.
Maria I, Viva Maria!, United Artists, 1965.
Title role, Mademoiselle, Lopert, 1966.
Anna, The Sailor from Gibraltar, Lopert, 1967.
Doll Tearsheet, Campanadas a medianoche (also known as Chimes at Midnight, Falstaff, and Campanades a mitjanit), Peppercorn–Wormser/U–M Film Distributors, 1967.
Title role, "Mademoiselle Mimi," in Le plus vieux metier du monde (also known as Love through the Centuries, The Oldest Profession, The Oldest Profession in the World, Das Aelteste Gewerbe der Welt, L'amore attraverso I secoli, and L'amour a travers les ages), 1967, released in the United States by Goldstone/VIP, 1968.
Catherine the Great (title role), Great Catherine, Warner Bros., 1968.
Julie Kohler, La mariee etait en noir (also known as The Bride Wore Black and La sposa in nero), Artistes Associes, 1968.
Virginie Ducrot, Une histoire immortelle (also known as The Immortal Story), 1968, released in the United States by Fleetwood/Altura, 1969.
Diane, Le corps de Diane (also known as Diane's Body and Telo Diany), 1969.
Herself, Alex in Wonderland, Metro–Goldwyn–Mayer, 1970.
Herself, Langlois (short documentary film; also known as Henri Langlois), 1970.
Martine Bernard, Monte Walsh, National General, 1970.
The Heirs (also known as The Inheritors), Os Herdeiros, 1970.
Madeleine, Comptes a rebours (also known as Countdown, Reckonings against the Grain, and Conto alla revescia), CCFC, 1971.
Myriam Bingeot, L'humeur vagabonde (also known as Vagabond Humor), Sodor Films, 1971.
L'aimie, Nathalie Granger, French Consulate/Moullet et Compagnie, 1972.
Louise, Chere Louise (also known as Dear Louise, Louise, and La lunga notte di Louisa), Columbia–Warner Distributors, 1972.
(Uncredited) Singer, Absences repetees (also known as Repeated Absences), Les Films du Prisme, 1972.
Renee Vibert, La race des "seigneurs" (also known as Creezy and The "Elite" Group and L'arrivista), Films la Boetie, 1973.
Title role, Joanna Francesa (also known as Jeanne the Frenchwoman and Jeanne, la Francaise), 1973, Unifilm/New Yorker, 1981.
Elisa Boussac, Je t'aime (also known as I Love You), Films Mutuels, 1974.
Jeanne Pirolle, Les valseuses (also known as Getting It Up, Going Places, and Making It), Cinema V, 1974.
Berthe, Souvenirs d'en France (also known as French Provincial and Inside Memories of France), AMLF, 1975.
Maria, Le jardin qui bascule (also known as The Garden That Tilts), Coline Distribution, 1975.
Sylvana, Hu–Man, Romantique/ORTF/Camera One, 1975.
Sarah Dedieu, Lumiere (also known as Light and Scene di un'amicizia tra donne), Gaumont, 1975, released in the United States by New World, 1976.
Didi, The Last Tycoon, Paramount, 1976.
Florence, Mr. Klein (also known as Chi e Mr. Klein?, M. Klein, and Monsieur Klein), Fox–Lira/Quartet, 1976.
Madame Rosa, 1978.
Helene, Plein sud (also known as Heat of Desire and Huida al sur), Triumph, 1980.
Les uns et les autres (also known as Within Memory), 1981.
Lucien chez les barbares, 1981.
Lou, La truite (also known as The Trout), Gaumont/TF1/ Triumph, 1982.
Madame Benoit–Lambert, Mille milliards de dollars (also known as A Thousand Billion Dollars), 1982.
Au–dela de cette limite votre billet n'est pas valable (also known as Finishing Touch, Slow Descent into Hell, Your Ticket Is No Longer Valid, Au–dela de cette limite votre ticket n'est pas valable, and L'ultime passion), 1982.
Lysiane, Querelle—Ein Pakt mit dem Teufel (also known as Querelle and Querelle—A Pact with the Devil), Palace, 1982, released in the United States by Triumph, 1983.
Camille, Autour de l'arbre (also known as L'arbre), 1983.
Herself, Der Bauer von Babylon—Rainer Werner Fassbinder dreht Querelle (also known as The Wizard of Babylon), New Yorker Films, 1983.
Herself, Jean–Louis Barrault, un homme de theatre (documentary short film; also known as Jean–Louis Barrault—A Man of the Theatre), 1983, Beta Film, 1984.
Interviewer, Lillian Gish (documentary), Capella Films, 1984.
Lady with little dog, Cote Coeur, Cote Jardin, 1984.
The hostess, Le paltoquet (also known as The Nonentity), AAA/Roissy/Artificial Eye, 1986.
Marie–Aude Schneider, Sauve–toi Lola, Onyx/AAA Classics, 1986.
Francois Simon—La presence (documentary), CSS Geneva, 1986.
Sabine, Le miracule (also known as The Miracle Healing), Films du Volcan, 1986, released in the United States by Cannon Releasing, 1987.
Renoir, les portraits de la beaute (documentary), 1987.
Helene Sauveterre, La nuit de l'ocean (also known as The Night of the Ocean), Forum Distribution/World Marketing, 1988.
Janine Weisman, Jour apres jour, 1988.
Herself, Calling the Shots (documentary), World Artists Releasing/Cineplex Odeon/Films Transit, 1988.
Narrator, Hotel Terminus: Klaus Barbie, His Life and Times (documentary; also known as Hotel Terminus, Hotel Terminus: The Life and Times of Klaus Barbie, Hotel Terminus: Klaus Barbie et son temps, and Hotel Terminus: Klaus Barbie, sa vie et son temps), Samuel Goldwyn/Orion International, 1988.
Le Doria, La femme fardee, 1990.
The baroness, Alberto Express, 1990, released by MK2, 1992.
Amande, La Femme Nikita (also known as Nikita), Samuel Goldwyn, 1991.
Edith Farber, Until the End of the World (also known as Bis ans Ende der Welt and Jusqu'au bout du monde), Warner Bros., 1991.
Lady M, La vieille qui marchait dans la mer (also known as The Old Lady Who Wades in the Sea, The Old Lady Who Walked in the Sea, and The Old Woman Who Walked in the Sea), 1991.
Narrator, The Architecture of Doom, First Run Features, 1991.
The wife, The Suspended Step of the Stork (also known as Il passo sospeso della cigogna, Le pas suspendu de la cigogne, and To meteoro vima tou pelargou), 1991.
Woman, Anna Karamazoff, 1991.
Tete, A demain (also known as See You Tomorrow), 1992.
Voice of Marguerite Duras, The Lover (also known as L'amant), Metro–Goldwyn–Mayer, 1992.
Rose, My Name Is Victor (also known as Je m'appelle Victor), 1993.
Sister Banville, Map of the Human Heart (also known as La carte du tendre), Miramax, 1993.
The wife of the old man, The Absence (also known as L'absence, Die Abwesenheit, and La ausencia), 1993.
Actor for a day, A Hundred and One Nights (also known as A Hundred and One Nights of Simon Cinema, Les cent et une nuits, and Les cent et une nuits de Simon Cinema), Mercure Distribution, 1995.
(In archive footage) "The Deep," Orson Welles: The One–Man Band, Medias Res, 1995.
Friend, Beyond the Clouds (also known as Above the Clouds, The Antonioni Project, Chronicle of a Love That Never Was, Don't Try to See Me Again, Five Stories, The Girl, the Crime, Lies, Nothing but Lies, Mediations, This Body of Mud, Al di la delle nuvole, Jenseits der Wolken, and Par–dela les nuages), Mercure Distribution, 1995.
Herself, The Universe of Jacques Demy (documentary; also known as The World of Jacques Demy and L'univers de Jacques Demy), 1995.
Adrienne Mark, The Proprietor (also known as La proprietaire), Warner Bros., 1996.
Nana, I Love You, I Love You Not, Avalanche Releasing, 1996.
Eglantine, Witch Way Love (also known as Un amour de sorciere), NTV–Profit, 1997.
Madame Libra, Love & Confusions (also known as Amour et confusions), NTV–Profit, 1997.
Grande Dame, Ever After, Twentieth Century–Fox, 1998.
Alessandra Wolf/Licy/Lady Tomasi di Lampedusa, Il manoscritto del principe (also known as The Prince's Manuscript), Sciarlo, 2000.
Herself, Fuer mich gab's nur noch Fassbinder (documentary; also known as Fassbinder's Women), Zweites Deutsches Fernsehen, 2000.
Lisa Morain as an old woman, Lisa, Capitol Films, 2001.
Marguerite Duras, Cet amour–la, 2001, New Yorker Films, 2003.
Johanna in 1989, The Will to Resist, 2002.
Akoibon, Gemini Films/Les Productions en Cabine, 2005.
Le temps qui reste, Fidelite Productions, 2005.
13 French Street, 2005.
Une vieille maitresse, Flach Film, 2005.
Also appeared as Ruth Warriner in The Deep (also known as Dead Reckoning and Direction towards Death), filmed by Orson Welles in 1967, but never released.
Lumiere (also known as Light and Scene di un'amicizia tra donne), Gaumont, 1975, released in the United States by New World, 1976.
L'adolescente (also known as The Adolescent, An Adolescent Girl, and Maedchenjahre), Parafrance, 1978.
Lillian Gish (documentary), Capella Films, 1984.
(With others) Jules et Jim (also known as Jules and Jim), Janus, 1962.
(With others) Peau de banane (also known as Banana Peel and Buccia di banana), 1963, released in the United States by Pathe, 1965.
(With others) La baie des anges (also known as Bay of Angels and Bay of the Angels), Pathe Contemporary, 1964.
Lillian Gish (documentary), Capella Films, 1984.
Hortense Mancini, La lever du soleil, 1947.
Joas, Athalie, 1947.
La Vigne, L'histoire de Tobie et de Sara, 1947.
Madeleine, La terrasse du midi, Avignon Theatre Festival, Avignon, France, 1947.
Queen's attendant, Richard II, 1947.
Vera Alexandrovna, A Month in the Country, Comedie Francaise, Paris, 1947.
Angelique, L'epreuve, 1948.
Betty, L'anglais tel qu'on le parle, 1948.
Cherubim, Le mariage de Figaro (opera), 1948.
Dona Maria, L'occasion, 1948.
Narrator, Cyrano de Bergerac, 1948.
Rafaela, La peine capitale, 1948.
Rose, Les mal aimes, 1948.
Spanish girl of the ballet, Les espagnois en Denmark, 1948.
Anne–Marie, Les tempe difficiles, 1949.
Camille, On ne badine pas avec l'amour, 1949.
Mariane, L'avare, 1949.
Suzette Bourdier, Le roi, 1949.
Bianca, Othello, 1950.
Carola Venitequa, Les caves du Vatican, 1950.
Carotte, Poil de Carotte, 1950.
Lisette, Les sinceres, 1950.
Mademoiselle Moliere, L'impromptu de Versailles, 1950.
Perdita, A Winter's Tale, 1950.
Ninon, A quoi revent les jeunes filles, 1950.
Therese, Le chant du Berceau, 1950.
Clara, Le dindon, 1951.
L'infante, Le Cid, 1951.
Lucile, Le bourgeois gentilhomme, 1951.
Mariane, Tartuffe, 1951.
Martine, Le medicin malgre lui, 1951.
Nathalie d'Orange, The Prince of Hombourg, 1951.
Silvia, La double inconstance, 1951.
Valentine, La paix chez soi, 1951.
Bourgeoise, Lorenzaccio, 1952.
Lucrece, La nouvelle mandragore, 1952.
Yllen, Nuclea, 1952.
Geraldine, L'heure eblouissante (also known as The Dazzling Hour), 1953.
The sphinx, La machine infernale, 1954.
Eliza Doolittle, Pygmalion, 1955.
Maggie, La chatte sur un toit brulant (also known as Cat on a Hot Tin Roof), 1956.
Marie–Paule, La bonne soupe, 1958.
Henny Porten, La chevauchee sur le lac de Constance (also known as The Ride across Lake Constance), 1974.
Title role, Lulu, 1976.
Marie–Pierre, L'intoxe, 1980.
Hannah Jelkes, The Night of the Iguana, Morris Mechanic Theatre, Baltimore, MD, 1985.
Zerline, La recit de la servante Zerline, 1986.
Title role, La celestine, 1989.
Wit, Geneva, Switzerland, and Paris, 2000.
Attila (opera), Opera National de Paris, Paris, 2001.
Also director of Fallen Angels, Paris production.
Television Appearances; Miniseries:
Vivi, LeTiroir Secret, 1985.
Narrator, Belle epoque, 1995.
Charlotte–Laure, Balzac (also known as Balzac—Ein Leben voller Leidenschaft), Bravo, 1999.
Mother Innocente, Les miserables (also known as Les Miserables—Gefangene des Schicksals and Los miserables), 2000, then Fox Family Channel, 2001.
Television Appearances; Movies:
Herself and Catherine, Vivement Truffaut (also known as Hommage a Truffaut), 1985.
Madame Eve, Agatha Christie's "The Last Seance" (also known as The Last Seance), Granada Television, 1986.
Lili, The Summer House (also known as Clothes in the Wardrobe), BBC, 1992.
Angelique, A Foreign Field (also known as We Shall Meet Again), BBC, also broadcast on Masterpiece Theatre, PBS, 1994.
Elizabeth, Catherine the Great (also known as Katharina die Grosse), Arts and Entertainment, 1995.
Anna Shermann, Zaiede, un petit air de vengeance (also known as Zaide), Radio Television Belge Francofone (Belgium) and France, 2001.
Mahaut d'Artois, Les rois maudits (also known as La profezia dei templari), France 2 (France), 2005.
Television Appearances; Specials:
Narrator, Portrait: Orson Welles, 1968.
Une legende une vie: Citizen Welles, 1974.
Profession: Comedian (documentary), [France], 1979.
Vicious Circle (also known as Huis Clos), BBC, c. 1985.
With Orson Welles: Stories from a Life in Film, TNT, 1990.
Voice, Le temps et la chambre, [France], 1992.
About Jeanne Moreau, 1995.
Fare un film per me e vivere (also known as Making a Film for Me Is to Live and Faire un film pour moi c'est vivre), 1996.
The Good, the Bad, and the Beautiful, 1996.
(In archive footage) Herself, Les 13 vies du chat Lelouch (documentary), [France], 2002.
Herself, The Passions of Louis Malle, 2003.
Leo, Les parents terribles (also known as Hothouse), France 2 (France), 2003.
Francois Truffaut, une autobiographie, 2004.
Television Appearances; Awards Presentations:
Presenter, The 43rd Annual Academy Awards, NBC, 1971.
Presenter, The 49th Annual Academy Awards, ABC, 1977.
The American Film Institute Salute to Lillian Gish, CBS, 1984.
Television Appearances; Episodic:
Herself, Cinepanorama, 1956.
Guest, The Tonight Show Starring Johnny Carson, NBC, 1970.
Herself, The Full Wax, BBC, 1993.
Guest, The Late Show with David Letterman, CBS, 1996.
Herself, Ruby, BBC, 1998.
Guest, Inside the Actors Studio, Bravo, 2003.
Guest, The ou café, 2003.
Guest, On ne peut pas plaire a tout le monde (also known as O.N.P.P.), [France], 2003, 2005.
Guest, En aparte, 2004.
Guest, Le grand journal de Canal+, 2004.
Guest, Tout le monde en parle, 2004.
Television Appearances; Other:
Saint, martyr et poete, [France], 1975.
Le plus grande musee, 1985.
Ennemonde Girard, Ami Giono: L'ennemonde, [France], 1990.
La contessa di Castiglione, France, 2004.
Television Work; Specials:
Stage director, Attila (opera), 2001.
Douze chansons de Cyrus Bassiak, 1963.
Viva Maria!, 1965.
Douze nouvelles chansons de Bassiak, 1966.
Les chansons de Clarisse, 1968.
Jeanne chante Jeanne, 1970.
Jeanne Moreau chante Norge, 1981.
Narrator, Babar the Elephant, Deutsche Gramophon, c. 1995.
Jeanne Moreau, pour vous … mes plus belles chansons, Musidisc, 1998.
Performer of songs that have appeared in films.
Narrator, Genesys, 2001.
Lumiere (also known as Light and Scene di un'amicizia tra donne), Gaumont, 1975, released in the United States by New World, 1976.
(With Henriette Jelinek) L'adolescente (also known as The Adolescent, An Adolescent Girl, and Maedchenjahre), Parafrance, 1978, published as L'adeolscente: d'apres un scenario de Henriette Jelinek et Jeanne Moreau, sur une idee originale de Jeanne Moreau, 1979.
La petite prairie aux bouleaux (also known as The Birth–Tree Meadow and Birkenau und Rosenfeld), Academy Films Stuttgart/Ludwigsburg, 2003.
Stage Play Adaptor:
Wit, Geneva, Switzerland, and Paris, 2000.
Also adaptor of Fallen Angels, Paris production.
Contributor to periodicals, including Interview. Past editor in chief, In (audiovisual magazine).
Gray, Marianne, La Moreau: A Biography of Jeanne Moreau, Little, Brown, 1994.
International Dictionary of Films and Filmmakers, Volume 3: Actors and Actresses, 4th edition, St. James Press, 2000.
Boston Globe, October 20, 1996.
Boston Herald, October 28, 1996, p. 35.
Chicago Tribune, October 16, 1996, p. 2.
Economist, February 11, 1995.
Film Comment, March/April, 1990, p. 20.
International Herald Tribune, May 7, 1997; January 12, 2001.
Interview, September, 1996, pp. 128–35.
Los Angeles Times, October 6, 1996; October 3, 1998.
New York Daily News, November 18, 2001, p. 19; March 30, 2003.
New York Observer, May 3, 1999, p. 3.
New York Times, June 30, 1976; October 6, 1996, p. 2–28; January 13, 2001; November 30, 2001; March 11, 2003, p. B2; March 30, 2003, p. 2–15.
San Francisco Examiner, April 9, 1996; October 23, 1996; March 11, 2000.
Sight & Sound, December, 1998.
Time Out New York, November 1, 2001.
Variety, February 7, 2000, p. 42; January 15, 2001, p. 108; February 25, 2002, p. 34.
Washington Post, January 25, 2002, pp. N1, N6–N7; February 5, 2004, p. C3.
Washington Times, January 23, 2005.
"Moreau, Jeanne 1928–." Contemporary Theatre, Film and Television. . Encyclopedia.com. (July 12, 2018). http://www.encyclopedia.com/education/news-wires-white-papers-and-books/moreau-jeanne-1928
"Moreau, Jeanne 1928–." Contemporary Theatre, Film and Television. . Retrieved July 12, 2018 from Encyclopedia.com: http://www.encyclopedia.com/education/news-wires-white-papers-and-books/moreau-jeanne-1928
Modern Language Association
The Chicago Manual of Style
American Psychological Association
Nationality: French. Born: Paris, 23 January 1928. Education : Attended the Lycée Edgar Quinet, Paris; Conservatoire National d'Art Dramatique, Paris. Family: Married 1) the actor Jean-Louis Richard, 1949 (divorced), son: Jérôme; 2) the director William Friedkin, 1977 (divorced 1980). Career: 1948–52—member of the Comédie Française: debut in A Month in the Country; 1948—film debut in Dernier amour; 1952—joined Théâtre National Populaire; 1975—president, Cannes Film Festival; 1976—directed the film Lumière; 1982—co-founder, with Klaus Hellwig, Moreau Productions; 1994—in TV mini-series Catherine the Great; also recorded several albums of songs. Awards: Best Actress, Cannes Festival, for Moderato Cantabile, 1960; Best Foreign Actress, British Academy, for Viva Maria, 1966; Chevalier, Légion d'honneur; Ordre Nationale du Merite et des Arts et Lettres. Agent: Artmédia, 10 av Georges V, 75008 Paris, France.
Films as Actress:
Dernier amour (Stelli)
Meurtes (Three Sinners) (Pottier); Pigalle Sainte-Germain-des-Pres (Berthomieu)
L'Homme de ma vie (Lefranc)
Il est minuit, Docteur Schweitzer (Haguet)
Touchez pas au grisbi (Grisbi; Don't Touch the Loot) (Jacques Becker) (as Josy); Dortoir des grandes (Inside a Girls' Dormitory) (Decoin); Julietta (Marc Allégret) (as Rosie Facibey); Les Intriguantes (Decoin); La Reine Margot (Dréville)
Secrets d'alcôve (The Bed; Il Letto) (Decoin, Delannoy, Habib, and Franciolini) (as Mother)
Les Hommes en blanc (The Doctors) (Habib) (as Marianne); Gas-Oil (Grangier); M'sieur la caille (Pergament)
La Salaire du péché (de la Patellière); Jusqu-au dernier (Billon)
Les Louves (Demoniaque; The She Wolves) (Saslavsky) (as Agnes); L'Etrange Mr. Steve (Vailly); Trois jours à vivre (Grangier); Echec au porteur (Grangier)
Ascenseur pour l'échafaud (Elevator to the Gallows; Frantic) (Malle) (as Florence Carala); Le Dos au mur (Back to the Wall) (Molinaro); Les Amants (The Lovers) (Malle) (as Jeanne Tournier)
Les Liaisons dangereuses (Dangerous Love Affairs; Relazioni Pericolose) (Vadim) (as Juliette de Merteuil); Le Dialogue des Carmélites (Bruckberger); Five Branded Women (Ritt) (as Ljuba); Les Quatre Cents Coups (The 400 Blows) (Truffaut) (as woman with dog)
Moderato Cantabile (Seven Days . . . Seven Nights) (Brook) (as Ann Desbaredes); La notte (The Night) (Antonioni) (as Lidia)
Une Femme est une femme (A Woman Is a Woman) (Godard) (as woman in bar)
Jules et Jim (Jules and Jim) (Truffaut) (as Catherine); Eva (Losey) (as Eva Olivier); La Baie des anges (Bay of Angels) (Demy) (as Jackie Demaistre); Le Feu follet (The Fire Within) (Malle) (as Jeanne)
The Victors (Foreman) (as Frenchwoman); Le Procès (The Trial) (Welles) (as Miss Burstner)
Peau de banane (Banana Peel) (Marcel Ophüls) (as Cathy); Le Journal d'une femme de chambre (Diary of a Chambermaid) (Buñuel) (as Celestine); Le Train (The Train) (Frankenheimer) (as Christine); The Yellow Rolls-Royce (Asquith) (as Marchioness Eloise of Frinton)
Viva Maria (Malle) (as Maria I); Mata Hari—Agent H-21 (Richard) (title role)
Mademoiselle (Summer Fires) (Richardson) (title role); Campanadas a Medianoche (Chimes at Midnight; Falstaff) (Welles) (as Doll Tearsheet)
The Sailor from Gibraltar (Richardson) (as Anna); "Mademoiselle Mimi" ep. of Le Plus Vieux Métier du monde (The Oldest Profession) (de Broca) (as Mimi)
La Mariée etait en noir (The Bride Wore Black) (Truffaut) (as Julie Kohler); Great Catherine (Flemyng) (title role); Une Histoire immortelle (The Immortal Story) (Welles—for TV) (as Virginie Ducrot)
Monte Walsh (Fraker) (as Martine Bernard); Alex in Wonderland (Mazursky) (as herself); Comptes à rebours (Pigaut)
L'Humeur vagabonde (Luntz)
Chère Louise (de Broca); Nathalie Granger (Duras) (as other woman)
Joanna Francesca (Diegues) (title role); Je t'aime (I Love You) (Duceppe) (as Elisa Boussac); Les Valseuses (Going Places) (Blier) (as Jeanne Pirolle)
La Race des seigneurs (Granier-Deferre); Hu Man (Laperrousaz); Le Jardin qui bascule (Gilles)
Souvenirs d'en France (French Provincial) (Téchiné)
Mr. Klein (Losey) (as Florence); The Last Tycoon (Kazan) (as Didi)
Your Ticket Is No Longer Valid (Kaczender); Plein sud (Heat of Desire) (Beraud) (as Helene)
Lucien chez les barbares (Bernardi); Mille milliards de dollars (Berneuil)
La Truite (The Trout) (Losey) (as Lou); Querelle (Fassbinder) (as Lysiane); Autour de l'arbre (Dillon)
Der Bauer von Babylon (The Wizard of Babylon) (Schidor—doc)
Jean-Louis Barrault—Man of the Theatre (Balash—doc)
Le Plus Grande Musée (Lander—for TV); Vicious Circle (Ives—for TV)
Le Paltoquet (Deville) (as the Proprietress); Sauve-toi Lola (Drach) (as Marie-Aude); Le Tiroir secret (Molinaro—for TV); François Simon—La présence (Simon—doc); Last Seance (Wyndham-Davies—for TV)
Le Miraculé (Mocky) (as Sabine); Renoir, les portraits de la beauté (Shigenobu—doc); Hotel Terminus (Ophüls)
Calling the Shots (Cole and Dale—doc); La Nuit de l'ocean (Perset)
La Femme fardée (Pinheiro) (as La Doria)
La femme Nikita (Besson) (as Amande); Alberto Express (Joffé) (as the Baroness)
Suspended Step of the Stork (To Meteoro Vima tou Pelargou) (Angelopoulos) (as the wife); Anna Karamazoff; The Architecture of Doom (as narrator); Bis ans Ende der Welt (Until the End of the World) (Wenders) (as Edith Farber)
The Lover (L'Amant) (Annaud) (as voice of Marguerite Duras); A Demain (as Tete); La Vielle qui marchait dans le mer (The Old Lady Who Walked in the Sea) (Heynemann) (as Lady M)
The Absence (Handke) (as wife of the old man); Map of the Human Heart (La carte du tendre) (Ward) (as Sister Banville); Je M'Appelle Victor (My Name Is Victor) (Jacques) (as Rose); The Summer House (Hussein) (as Lili); A Foreign Field (Sturridge—for TV) (as Angelique)
Les Cent et Une Nuits (A Hundred and One Nights) (Varda) (as Actor for a Day); Par dela les nuages (Antonioni and Wenders)
I Love You, I Love You Not (Hopkins) (as Nana); The Proprietor (Ismail Merchant) (as Adrienne Mark)
Amour et confusions (Love & Confusions) (Braoudé) (as Libra); Un amour de sorcière (Witch Way Love) (Manzor) (as Eglantine)
Ever After (Tennant) (as Grande Dame)
Il Manoscritto del principe (Andò) (as Lady Tomasi di Lampedusa); Balzac (Dayan) (as Charlotte-Laure)
Les Misérables (Dayan—for TV)
Films as Director:
Lumière (Light) (+ sc, ro as Sarah Dedieu)
L'adolescente (+ co-sc)
Lillian Gish (co-d, + pr)
By MOREAU: book—
By MOREAU: articles—
Interview with M. Lindsay, in Cinema (Beverly Hills), no. 3, 1969.
Interview with E. Decaux and Bruno Villien, in Cinématographe (Paris), October 1982.
Interview with Michael Buckley, in Films in Review (New York), December 1983.
"Dialogue on Film: Jeanne Moreau," in American Film (New York), July/August 1984.
Interview with M. Chevrie and Serge Toubiana, in Cahiers du Cinéma (Paris), February 1987.
Interview with M. Buruiana, in Séquences (Montreal), January 1989.
Interview with Molly Haskell and Andrea R. Vaucher, in Film Comment (New York), March/April 1990.
Interview with Françoise Audé and Michel Ciment and Michel Sineux, in Positif (Paris), May 1995.
Interview with Molly Haskell, in Interview, September 1996.
On MOREAU: books—
Erdelyi, Z. Agnes, Jeanne Moreau, Budapest, 1977.
Ruscart, Marc, editor, with Chantel Le Sauzel, Jeanne Moreau, une femme, une actrice, Paris, 1986.
Moireau, Jean-Claude, Jeanne Moreau, Paris, 1988.
Lauermann, Gabriele, Jeanne Moreau: ihre Filme, ihr Leben, Munich, 1989.
Delmar, Michael, Jeanne Moreau: portrait d'une femme, Paris, 1994.
Gray, Marianne, La Moreau: A Biography of Jeanne Moreau, London, 1996.
On MOREAU: articles—
Stanbrook, Alan, "The Star They Couldn't Photograph," in Films and Filming (London), February 1963.
Duras, Marguerite, "The Affairs of Jeanne Moreau," in Show (Hollywood), March 1963.
Current Biography 1966, New York, 1966.
Gilliatt, Penelope, "Jeanne Moreau," in The Movie Star, edited by Elisabeth Weis, New York, 1981.
Allen, D., "Moreau in London," in Sight and Sound (London), Summer 1982.
Ferguson, S., "Jeanne Moreau," in Ecran (Paris), vol. 16, no. 4/5, 1991.
Pascaud, Fabienne, "1994 par Jeanne Moreau," in Télérama (Paris), 28 December 1994.
"Hot Number: Jeanne Moreau," in Economist (London), 11 February 1995.
Vincendeau, Ginette, "The Indiscreet Charm of Jeanne Moreau," in Sight & Sound (London), December 1998.
* * *
Jeanne Moreau's canonization coincided with the assault of the French New Wave on stale professional craftsmanship and conventional movie stardom. Toiling in the theater and forgettable movies for more than a decade, Moreau was no spring chicken when Louis Malle helped mold her image as the femme d'un certain age. At a chronological age when American leading ladies were put out to the pasture of television sitcoms and summer stock, Moreau flourished not because she was refreshingly foreign but because, judged particularly against the backdrop of the rotting American studio system, she was unique. Not cast as disposable used goods like Piper Laurie in The Hustler or as a perennial spinster like Geraldine Page in Summer and Smoke, the no-longer fresh-faced Moreau of Jules and Jim and Frantic was a vitally sexy woman far from ready for consignment to a sexist junk heap. Defying bourgeois standards of propriety in Les Amants or deliberately bastardizing social intercourse in Les Liaisons dangereuses for her own pleasure, Moreau excited film buffs because she played by her own rules which were subject to change dictated by her will.
The charting of one's destiny was a luxury denied most of the actresses working in Hollywood films of this same period. Adopted as a patron saint by Truffaut, Malle, and Godard, and embraced by the intelligentsia as a love goddess who did not insult their IQs, Moreau followed the same course in her career as her characters did in her movies: wherever your heart leads you, never compromise once you reach the destination. By insisting on placing herself in the hands of the top filmmakers of the era, her career span exceeded those who thought they were being clever just by alternating a commercial hit with an Oscar-nominated drama. Not constrained by an image, she became a tabula rasa for innovators. If she was the embodiment of soul-sickness for Antonioni in his unsparing dissection of a marriage in La notte, she could also be perceived as the saucy spirit of plaisir for Demy's Bay of Angels or the brutally frank spokesperson for the superiority of the serving class in Buñuel's Diary of a Chambermaid. If her American vehicles reveal her at half-mast, that may have been the consequence of not aligning herself with major Yankee filmmakers (save for Welles, who was by this point an expatriate far out of the Hollywood mainstream). In Europe, however, even intriguing misfires by Britishers Richardson and Brook, only enhanced her legend as a femme fatale with the soul of a poet. All the diverse aspects of Moreau's personality mesh seamlessly in Truffaut's masterpiece, Jules and Jim, which could be called Moreau's Camille. Still exhilarating today, this gloriously untidy film presents Moreau's maddeningly modern Catherine as part unfettered child, part calculating vixen. Bewitching the viewers just as she captivates her lovers, Moreau crystallizes the movie's romantic tragedy for us by creating a mystery woman who never surrenders to either man the complete abandonment they desire.
Sometimes languidly sensual, sometimes raging with volcanic force, the Empress of Art Cinema capped off the first phase of her stardom with an enchanting rendition of a bittersweet song in Le Petit théâtre de Jean Renoir, a valedictory to him and a tribute to her loveliness which time seemed powerless to dim. As a character actress she continued to spark excitement, notably passing on the New Wave baton from Truffaut to Blier in Going Places and instructing a declassé assassin in social graces in La femme Nikita. Although space defeats anyone trying to summarize all of Moreau's acting benedictions, one can point out that as of 1993, her histrionic passion could still attain rapturous heights on the evidence of The Summer House. Fittingly for an actress who hitched her star to so many auteurs, she made a graceful transition to directing. Beginning with a contemplation of acting and friendship in the luminous Lumière, progressing through a lovely coming-of-age tale, L'adolescente, and culminating in an inspired documentary about Lillian Gish, Moreau proves that she is still the searching artist no matter where she positions herself on a movie set. The restless drive for self-expression which fueled some of her favorite moviemakers' greatest works now lives on in her own highly personal and adventurous efforts.
"Moreau, Jeanne." International Dictionary of Films and Filmmakers. . Encyclopedia.com. (July 12, 2018). http://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/moreau-jeanne
"Moreau, Jeanne." International Dictionary of Films and Filmmakers. . Retrieved July 12, 2018 from Encyclopedia.com: http://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/moreau-jeanne
Modern Language Association
The Chicago Manual of Style
American Psychological Association
Jeanne Moreau (zhän môrō´), 1928–, French movie actress, b. Paris. She studied at the Comédie Française. She is known for her sophisticated portrayals of amoral heroines. In Jules and Jim (1961), she etched a highly ambiguous portrait of a delightful woman capable of destroying the men who love her. Her films include The Lovers (1959), Les Liaisons Dangereuses (1960), La Notte (1961), Diary of a Chambermaid (1964), Going Places (1974), The Trout (1982), La Femme Nikita (1990), and The Summer House (1993). In 1976, she directed her first feature, Lumière.
"Moreau, Jeanne." The Columbia Encyclopedia, 6th ed.. . Encyclopedia.com. (July 12, 2018). http://www.encyclopedia.com/reference/encyclopedias-almanacs-transcripts-and-maps/moreau-jeanne
"Moreau, Jeanne." The Columbia Encyclopedia, 6th ed.. . Retrieved July 12, 2018 from Encyclopedia.com: http://www.encyclopedia.com/reference/encyclopedias-almanacs-transcripts-and-maps/moreau-jeanne