![]() Most recently, she spoke out on the #MeToo debate, though not in a manner many might have expected. She has been committed to the fight against abortion and the death penalty, as well as numerous other social issues. Yet,one cannot say that she shied away from publicity. She got undressed for Playboy magazine and was the face of Chanel, L'Oreal and Yves Saint Laurent advertising campaigns. She gave interviews and allowed glimpses into her private life only sparingly, and she kept her distance from the gossip of the tabloids. It was a shock for Deneuve, and one she recovered from only slowly - and it may have contributed to why she often seemed so unapproachable. They starred in a few films together before Dorleac died in a car accident in 1967. ![]() She didn't scare easily, she once said - perhaps in reaction to the early death of her sister Francoise Dorleac. She would later use this courage again and again. One would have to define the word, she replied and shot back: "Because I left home when I was 16 and a half? Or because I made films with Polanski, Bunuel and Ferreri?" The young actress, courageous even then, stood by her daring roles.Ī private and public persona 'Mississippi Mermaid' was adapted from a 1947 novel Image: picture-alliance/Courtesy Everett Collection In light of this, the actress was once asked what "bourgeois" meant to her. She always relished playing roles that allowed her to give viewers a glimpse of the abyss hiding behind a bourgeois facade. Then she topped that in the late 60s with the masterpieces Mississippi Mermaid by Francois Truffaut and Tristana by Luis Bunuel. Along with Belle de Jour, these movies alone would have been enough to secure Deneuve a place of honor in movie history. In 1965, she outdid herself as a tortured young woman in the Roman Polanski thriller Repulsion. Three years earlier, she had perfected that particular shyness in the wonderful musical film The Umbrellas of Cherbourg. ![]() She played her character with doe-eyed shyness on the one hand, and unabashed determination on the other. And it wasn't just that Bunuel's film was released decades earlier Deneuve's acting was also wonderfully skilled. James' sadomasochistic erotic novel from 2011. A film like Belle de Jour was much more daring than 50 Shades of Grey, the 2015 blockbuster based on E.L. She plays an attractive bourgeois young woman who lives out her erotic fantasies - in a brothel. Luis Bunuel's 1967 film, Belle de Jour, allowed Deneuve to show off her full acting range. Catherine Deneuve gave a nuanced performance in 'Belle de Jour' Image: picture-alliance/Mary Evans Picture Library ![]() Vice and Virtue would become the Paris-born actresses' first notable role. He said blonde hair would help her look more innocent. Director Roger Vadim insisted in 1963 that the then 20-year-old actress dye her hair blond for the role of the virtious Justine in Vice and Virtue. It would have been exciting to see how the British-American director would have brought Deneuve and her talent to the big screen.ĭeneuve, who is today revered as one of Europe's greatest film actors, was originally not blonde at all, but brunette. Others include Kim Novak, Grace Kelly and Tippi Hedren. Alfred Hitchcock was meant to direct it and Catherine Deneuve was meant to play the leading female role, but the project was canceled in 1979 due to the director's deteriorating health.ĭeneuve would have joined the many legendary "blondes" that Hitchcock cast in his cinematic masterpieces. It's a shame that the movie The Short Night never materialized.
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