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.
- Mademoiselle (tony Richardson 1966 Subtitulos 1
- Mademoiselle (tony Richardson 1966 Subtitulos Collection
Dangerous Attraction | Femmes Fatales
abuse, madness, obsession, peasant, schoolteacher, sexual-dysfunction
In a French village, Manou is an Italian logger, virile, with a broad laugh. He can’t say no to women’s sexual invitations, and jealous villagers blame him for recent fires and a flood. He is innocent; the culprit is “Mademoiselle,” town schoolmarm, a recent arrival admired by all, but sexually repressed and obsessed with Manou. She sets the first fire accidentally and throbs watching a shirtless Manou perform heroics. Subsequent catastrophes are no accident and express her mad passion for him. Also, after befriending Manou’s son, she turns on the lad, making him miserable and raising his suspicions. Her designs, Manou’s frank innocence, and the town’s xenophobia mix explosively.
Mademoiselle (tony Richardson 1966 Subtitulos 1
French | DVDRip | AVI | DivX, 876 Kbps | 608×256 | 23.976 fps | 701 MB
Audio: MP3, 63.3 Kbps | 1 channel | 48.0 KHz | Runtime: 01:42:55 minutes | Subtitles: English, Spanish (srt)
Genre: Drama
Audio: MP3, 63.3 Kbps | 1 channel | 48.0 KHz | Runtime: 01:42:55 minutes | Subtitles: English, Spanish (srt)
Genre: Drama
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In Francois Truffaut’s TheBride Wore Black (1968), Jeanne Moreau portrayed a woman driven to kill after the reckless accidental shooting of her new husband. In that film, one of Truffaut’s more interesting homages to Hitchcock, her character relentlessly pursues vengeance, methodicallyseeking out and taking out the men responsible for her groom’s death. Two yearsearlier, in Tony Richardson’s Mademoiselle(1966), Moreau played a similar sort of dark angel. In thisfilm her character was even more sinister, with motives far less clear-cut.
Jeanne Moreau as 'Mademoiselle' |
San Francisco’s fourth French film noir festival, The French Had a Name for It 4, at theRoxie Theater from November 3 through November 6, closes with a tribute to Moreau, the revered French icon who passed away on July 31 at age 89.The program for the final night of noirbegins with The Strange Mr. Steve (1957),featuring Moreau as a gangster’s moll. The last film on the last night of theprogram is Mademoiselle.
Jeanne Moreau began her film career in 1949 after getting her start on the French stage, and would emerge as a rising starlet by the mid-1950s. In the late '50s - after, in Moreau's withering assessment, 'nine years of bad films' - she made two important movies with director Louis Malle, Elevator to the Gallows (1958) and The Lovers (1959), that would simultaneously change and advance her career. Elevator to the Gallows signaled the oncoming zeitgeist of French New Wave and The Lovers gave Moreau an opportunity to portray a daring and sensual modern woman - essentially to create a type all her own. The actress would soon become emblematic of Art House cinema. By the time she came to Mademoiselle in 1966, Moreau already had behind her La Notte (1961) for Antonioni, Jules and Jim (1962) for Truffaut, Diary of a Chambermaid (1964) for Bunuel, Viva Maria! (1965) again with Malle, and Chimes at Midnight (1965) for Orson Welles. It was her time.
Jeanne Moreau began her film career in 1949 after getting her start on the French stage, and would emerge as a rising starlet by the mid-1950s. In the late '50s - after, in Moreau's withering assessment, 'nine years of bad films' - she made two important movies with director Louis Malle, Elevator to the Gallows (1958) and The Lovers (1959), that would simultaneously change and advance her career. Elevator to the Gallows signaled the oncoming zeitgeist of French New Wave and The Lovers gave Moreau an opportunity to portray a daring and sensual modern woman - essentially to create a type all her own. The actress would soon become emblematic of Art House cinema. By the time she came to Mademoiselle in 1966, Moreau already had behind her La Notte (1961) for Antonioni, Jules and Jim (1962) for Truffaut, Diary of a Chambermaid (1964) for Bunuel, Viva Maria! (1965) again with Malle, and Chimes at Midnight (1965) for Orson Welles. It was her time.
In Mademoiselle, Moreau portrays an acutely repressed school teacher. 'Mademoiselle' (she nameless throughout the film) has left the big city, we know not why and can't help but wonder. She now toils in a provincial French village. Here she oversees herclassroom by day and sneaks through the countryside by night, still wearing heels, wreaking havoc on the town: setting fires, triggering floods, poisoninglivestock. She secretly lusts after a handsome Italian lumberjack (Ettore Manni in a role first intended for Marlon Brando) who workslocally and whose son she mercilessly bullies at school. But Moreau’s character, obsessively pristine in public, has ingratiated herself into the community and become a respected local figure. Soon an innocent man, an outsider, will become the prime suspect for her twisted crimes.Only the lumberjack’s son knows the truth about mademoiselle’s perverse nature and only he will comprehend the depth of her cruelty.
Based on a story by Jean Genet and adapted for the screen by Genet, MargueriteDuras and others, Richardson made of Mademoiselle a blindingly visual film. The eye isdazzled by David Watkin’s (Catch-22, Chariots of Fire, Out of Africa) black and white photography of forest, field, stream, lake, andshore. Dialogue is spare, there isno music on the soundtrack, only the sounds of man and nature. And Moreau is devastating as the lethal mademoiselle.
Mischief |
Although Mademoiselle wasnominated for the Palme d’Or at Cannes and was nominated for BAFTAs for black & whitecinematography and costume design (for which it won), it was savagely panned bycritics as diverse as Pauline Kael, then with McCall's, and Bosley Crowther, not long before his ouster from the New York Times. Tony Richardson, who’d recently won Oscars for BestPicture and Best Director on Tom Jones (1963), was singled out and raked over the coals for what was perceived as artistic pretense, among other things. In hindsight, it seems likely that critics and others of the day who scrutinized or over-analyzed Mademoiselle simply got lost in their own fevered interpretations, unable to appreciate the film's cinematic qualities on their own merit. Mademoiselle is mesmerizing..obscure..disturbing. A woefully underrated work from Richardson and Moreau, it lingers after viewing, not soon to be forgotten.
Mademoiselle (tony Richardson 1966 Subtitulos Collection
Ettore Manni and Jeanne Moreau in Mademoiselle |
French-British coproduction mixes Tony Richardson’s free-wheeling style and the script of the controversial French writer-playwright Jean Genet. It has two versions, one English and one French, since French star Jeanne Moreau is bilingual.
The King adds the line, 'Select a weapon.' +2 to Damage, +2 to Durability and +2 to Handling.No one is better than another, except one fact, that you can only get Clicker once per playthrough, so this just makes Clicker more rare than King. Originally posted by:Ok, so since it is so rare I have yet to use it; however, the Clicker description says, 'Improves all of your weapon statistics (lvl.2)'. Does that mean that the Clicker will improve all of my currently 'equipped' weapons while the King will only improve 1?Has anybody tested this?Both Clicker and King give same effects.
A small French farming town is the locale. Story is about an arsonist who is terrorizing the people. A poisoned drinking well, and opened irrigation ditches which flood the farms, finally lead the populace to form a lynching mob.
The ingrained suspicion regarding a foreigner makes an Italian woodcutter (Ettore Manni), living in the town, the scapegoat.
Moreau’s presence manages to make her schoolmarm character quite plausible in revealing her lurking lusts. But the remainder is somewhat sketchy, even though Manni has the virility to bring on hatreds from the other men and finally his own demise. The script seemingly needed more depth and background to the characters. Converting to real prices. Either that or almost surrealistic playing and treatment.
What are people saying?
Wee Hunk's rating of the film Mademoiselle
Wee HunkThe things you do for love, that is if you happen to be an angel of CHAOS. I was just glad there was no slut shaming. 'I know I got nothin' on you I know there's nothing to do When times go bad And you can't get enough Won't you lay me down in the tall grass And let me do my stuff'This is Jake Kath's rating of the film Mademoiselle
This is Jake KathAn gorgeously shot unsettling pastoral landscape drama that riffs on the amorality that flows in our sexual impulses! Jesus, Jeanne Moreau is a bad bitch! And yet, I couldn't help feel empathy for her sexual repression. Actually, for any character living that village. Not an easy movie to stomach but it does contain some of the most starling images I have ever seen! Definitely a new favorite!rllr's rating of the film Mademoiselle
rllrA new film has crept into my top 20 list of favorite films of all time. How it looks, the way its acted (I went to sleep mumbling Jeanne Moreau is the best actress of all time), the way the story develops, the characters depicted, the doomed dynamics between man and woman and how conversations are kept to a bare minimum. Even more so: the things said are ALWAYS half-truths, wishes, projections or lies.Joel's rating of the film Mademoiselle
JoelThis film is full of the Cinematography that I long for, each time I start a film I hope to see images as beautiful as contained in this nightmarish work. Is there a blu-ray? Can I make one?Paolo Simeone's rating of the film Mademoiselle
Paolo SimeoneThrough the lens of French wave you can see what at the very end is a nasty tale from a 50s sex flick from the US. But wait, the director is English, and indeed I'm very confused. Confused, but happy I've seen such an amazing, intense piece of art.Matthew's rating of the film Mademoiselle
MatthewAlright, so I loved this film. Some impressive visuals, including one truly amazing scene (the shadow scene, for those who know). My only problem was with the absolutely disgusting amount of animal cruelty. Tony Richardson must've been a man with no regard for other creatures. Other than that, thumbs upAndrew Lang's rating of the film Mademoiselle
Andrew LangA phenomenal level of craft in the cinematography and blocking of this film. The camera never moves. Instead, characters move in and out of Richardson's 2:35 aspect frame, in which he explores the boundaries with thrilling virtuosity, often placing characters right on the edges.The story doesn't quite add up, but there were enough inexplicable moments to keep me hookedCeleste Parcell's rating of the film Mademoiselle
Celeste ParcellI saw this many years ago and loved it. Not all the sadistic stuff but the independence of Jeanne Moreau and her own path in life, even if it was not pleasant. I thought about it for a long time trying to find meaning in some of her actions. Bandaids on her breasts? Gloves to hide her prints? Burning down houses? Spending days in the forest making love with a handsome, sexy man, yet turning him in as a rapist? Why?