OhOn the streets of Paris, Michel Pocard, a car thief and fugitive police killer, had just been shot and killed by the police. He showed an arrogant and fatalistic attitude towards the idea of being caught. In fact, his American girlfriend Patricia wanted to be Reporters and street vendors at the New York Herald Tribune have turned him away. When Michelle lay dying in a pool of blood, she leaned on him. Will Michelle come up with some last words that resonate? not completely. He ignored the pain caused by the gunshot wound, but clowns his face out into the two stupid expressions he used to explain this sentence.Make head“: A stupid silent scream, then a panto grin. This is not performance, life is: tragedy, comedy, face, speech? Who cares?
This unforgettable, weird, one-off gesture—equivalent to Michel’s beloved Bogart’s “Children Watching You”—for Jean-Paul Belmondo in 1960 Jean-Luc Gore Dahl’s sensational breakthrough in his also legendary debut lays the foundation, Panting (AKA Breathless), from treatment Francois Truffaut Co-starring with Claude Chabrol and Jean Seberg, as an American who is captivated by his pornographic and existential bluffs.
Belmondo’s face is very handsome, rough, simple, sexy and authentic. Due to his amateur boxing career, his nose was broken, his lips were plump and severely deformed. In this movie, he was used to drawing his thumb absent-mindedly: this posture was both contemplative and provocative. Belmondo and Michel are each other’s movie icons. Michel is a rootless criminal troubadour. He is a car thief who shot a policeman because he happened to find a gun in the glove box. He drove from Marseille to Paris to find Patricia, wandered around, got some money he owed — or possibly blackmailed some money he did not have — to have sex, talk and live in the moment. However, despite his low status, he was still able to maintain a thoughtful, almost poetic before and after intercourse with Patricia in Patricia’s shabby little room.
For Godard, in movies such as “Out of Breath” Pierrot Le Fu, Belmondo is a typical gangster and tough guy, full of sane, thoughtful and comic self-consciousness. For the remainder of his career, he played a variant of this role: adventurer, thug, and sometimes a policeman himself, often face-to-face with his long-time sparring partner, Alain Delon-and often happily. , Humorous entertainment activities. Belmondo is a French star through and through: he has not shown the talent or interest in learning English and learning English in Hollywood like Charles Boyer or Maurice Chevalier.
He played criminals in another great film that made him a legendary director, Jean-Pierre Melville. In Le Doulos or The Stoolpigeon in 1963, he was a calm, self-reliant gangster. He made enough money to retire to the elegant townhouse he built in the country-but first he had a score to be with the criminals Reconciliation Brotherhood. Because of his friendship with the police, they suspected that he was a whistleblower: Dulos. In Melville’s Doomsday Magnet (1964), based on a novel by Georges Simenon, he is another French-Italian tough guy named Michel, a former paratrooper and Boxer, his fight in the opening sequence had an impact on De Niro’s Jack La Motta in Angry Bulls. He was hired as an assistant to Ferchaux, an elderly rich man who started to use his laws To escape the law. In 2001, the gray-haired Belmondo played Ferchaux in a remake for television.
But my favorite Belmondo performance was his performance against Genre and Melville in Leon Moran, The Pastor (1961). He played the priest, very serious. The story is set in wartime. Emmanuel Riva plays Barney, a young woman with communist tendencies. The only reason for her to confess is to indulge her anti-clericalism and seduce her confessional priest Belmondo. . But the priest talked to her calmly. He is very smart, thoughtful, and confident in his beliefs. Naturally, almost immediately, Barney fell in love with him while they were talking. Leon was frank and frank, and asked Barney to visit him in his humble room the next night so that they could continue the conversation. Their most important conversation focused on Barney, asking how Jesus asked God on the cross: “Why did you abandon me?” Leon replied that as a careful Jew, Jesus quoted Psalm 22.
Of course, Barney began to fall deeply in love with Leon, but his celibacy has never wavered-although you might expect this kind of story. He would not be tempted at all. His emotional unyielding manifested itself in the form of telling her about his difficult childhood and beating his mother, while he was impeccably kind and stubborn towards Barney’s little daughter, playing with her like a happy uncle. . Naturally, these trusts only strengthened Barney’s love, and she began to fantasize about taking him to her bed. But Leon refused her pass, looking very upset and disappointed-and asked her to confess. Later, he entered her bedroom to take care of her unwell daughter, and Barney saw the effect of divine grace in this incident. Belmondo’s performance was quite wonderful, which made me think he should play Jesus. He played an intellectual in another movie, Vittorio de SicaTwo of the women-communists wearing glasses fell in love with Sophia Loren. But this is not as moving as Melville’s extraordinary priest.
As the 1960s turned into the 1970s and 1980s, Belmondo intended to return to the stage, but on the screen he was happy to play in a commercial audience not adventurous: action films, thrillers, comedies. His Jazz Age thug adventure Borsalino (1970) was directed by Jacques Deray, and he teamed up with Delon, who was the predecessor of Newman and Redford in The Stinger.
He was annoyed by critics who always sneered at these vulgar efforts. Once Godard’s male Alpha Muse, Melville and Desica were an excitement for him. But he won the Caesar Award for his performance in Claude Lelouch’s Journey of the Spoiled Child (1988), a mysterious and involved film that tells a story about A flying trapeze artist who gave up his career pretended to be dead, but after encountering an old man by chance, the employee was moved to do something for the bad things he did in the past. Belmondo, always handsome and romantic, is an indispensable part of French film history. France itself.
