Memory of Jeanne Moro

One of the last large luminaries on the stellar sky of cinema

July 31 in Paris, Jeanne Moro died. Muse Louis Mall and Francois Trufffo. Actress Orson Wells, Luis Bunuel, Michelangelo Antonioni, Tony Richardson, Fassbinder, Godard, Bruka, Demi.

Why say how old she was? "Love to some extent protects us from age." She was in love with cinema, passionately, unconditional. And did not share cinema and private life. Often starred without a fee. She was vital to admire the talent of the director - the famous or beginner, it is not important, but to argue, to search. Having become known thanks to the “elevator on the scaffold” and “Julya and Jim”, she began to receive offers to play something similar. And she invariably refused: "Without thinking about my career, I went to where there were more adventures."

Many tried to explain its way of existence in front of the camera. Impossible. Someone to explain its special state on the set pronounces the word "trance". Monroe prefers another - “instinct”: “I do not rehearse to exhaustion, I do not try to penetrate the role in advance, simply, discussing it with the director, I begin to play.” Her independence, fearlessness bordered on marginality. She starred in the film “Walting” Bertrand Blue, shocking contemporaries of the epic about the generation of 1968, about the sexual revolution and freedom of morals.

In the history of cinema, she remained one of the great seducers. The audience loved and hated her immoral, fatal heroines in Eve, “dangerous ties”, “quarrels”, “lovers”. On the street, curses and hiss rushed after her. She perceived this as a professional victory and continued to look for reasons in the game itself.

She could not be called a beauty or a cutie. Some considered it to be nasher. But as soon as she appeared on the screen, on the other characters seemed to fall a shadow. The directors were fascinated by it, and the audience had no choice but to share this feeling of worship and admiration. As Kirk Douglas accurately noticed: "Without realizing it, she literally exudes sensuality." But her sensuality had an intellectual shade, aristocracy and sophistication.

She, with visible ease, crossed the age barrier, which becomes insurmountable for many actresses. Her heroines appeared even more emotional inflorescences, more inner power. As if the elusive essence of the actress herself finally began to appear in them. In the film "Immortal History" Orson Wells, who called her the best actress of our time, she extinguishes the candles, enveloping her heroine with a soft light, in front of the youth.

It is called the embodiment of Parisian chic (Carden devoted entire collections to it), a symbol of the new wave, the cinema of Europe of the twentieth century, she could not stand all these stamps. She said about herself: "I am not a symbol, I am just an actress and just a woman."

She recognized the talent unmistakably. And she was ready to devote time to him, strength. In the film of the damned poet Rustam Hamdamov “Anna Karamazoff” she played a woman. A newcomer from a patient of the past. In an old coat, a hat with a veil. With a worn, which saw the views of a suitcase. With a hoarse, as if a broken voice. With a face melting behind a car, in which peace is anxiety. Hope and death.

The film never released. He simply disappeared, like Anna Karamazoff herself. But maybe - everything can happen - the film will return. And she. Of course, when she considers it necessary.