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Mademoiselle
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Directed by Tony Richardson
In 1951, French writer Jean Genet presented a screenplay called "Les Rêves Interdits/L'Autre Versant du Rêve" to actress Anouk Aimée as a wedding gift. He then proceeded to sell the rights three times without telling her. Eventually the script was reworked by Marguerite Duras and filmed by British director Tony Richardson as Mademoiselle, with Jeanne Moreau in the title role. In its final form, Mademoiselle tells the story of a repressed schoolteacher who visits a veritable plague of deliberate "accidents" on the people of her rural French village. She sets fires, poisons animals, and causes floods -- all in a fit of thwarted passion for an immigrant woodcutter. Though Marlon Brando was originally set to play the role of the Italian craftsman, the part went to Ettore Manni when the production schedule shifted. Umberto Orsini plays Antonio, the woodcutter's forlorn son, whom Mademoiselle maliciously humiliates out of perverse desire for his father. A notoriously difficult shoot, Mademoiselle was filmed consecutively with The Sailor From Gibraltar, another collaboration between Richardson, Moreau, and Duras. As for Genet, he despised the casting of Moreau; nevertheless, she would go on to star in Querelle, another adaptation of the author's work. ~ Brian J. Dillard, All Movie Guide
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civexcivex Mademoiselle (1966)
by civex in civex Blog
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"This 1966 film starred Jeanne Moreau as a horribly repressed teacher in a small town where things go horribly wrong. It was directed by Tony Richardson, and co-starred Ettore Manni as Manou, the Italian laborer who attracted our Mademoiselle's interest. Richardson, though, is the subtle star of this movie. His scenes of Mademoiselle are stellar. Richardson and Moreau reveal Mademoiselle's inner secrets in silent scenes of Mademoiselle walking through the woods or dressi " [More]
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Review by All Movie Guide
All Movie Guide
lost interest.
Although it was booed at its premiere at Cannes and it distorts the vision of the Jean Genet script on which it was based, this savage melodrama is good fun in its over-the-top, blackly humorous way. With her big eyes and buttoned-down façade, aging beauty Jeanne Moreau proves delightfully monstrous as the titular schoolmarm stirred by secret passions. One moment besotted by an itinerant peasant, the next cruelly torturing his coarse, motherless son, Moreau is the absolute picture of frustrated obsession. The mad delight with which Mademoiselle tears around her rural French village secretly fomenting "natural" disasters brings to mind the sadomasochistic camp of Bette Davis in What Ever Happened to Baby Jane? Strapping hunk Ettore Manni, meanwhile, oozes vitality and humanity as the unsuspecting object of Mademoiselle's sick fascination. The love scene between Manni and Moreau -- played out against a vast countryside backdrop during a violent storm -- is as expressionistic as any silent German classic. Indeed, cinematographer Philippe Brun's fixed-frame camera and director Tony Richardson's avoidance of incidental music lend the picture an eerie hyper-naturalism. Unfortunately, the fateful denouement, visible from the first act, feels rote when it finally arrives. In between, though, Mademoiselle takes several surprising turns. Even at its most schematic, when it merely moves from one vicious stunt to the next, the film exudes a shrill vigor that must have somehow wafted right past those stuffed shirts at Cannes in 1966. ~ Brian J. Dillard, All Movie Guide
 

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