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Luis Buñuel
Luis Buñuel.
Born	Luis Buñuel Portolés 22 February 1900 Calanda, Teruel, Aragon, Spain
Died	29 July 1983 (aged 83) Mexico City, Mexico
Occupation	Filmmaker
Years active	1929–1977
Influenced by	Marquis de Sade, Jean Henri Fabre, Richard Wagner, Fritz Lang, Ramón Gómez de la Serna, Jean Epstein, André Breton, Federico García Lorca, Benjamin Péret
Influenced	Salvador Dalí, Carlos Saura, Arturo Ripstein, David Lynch, David Cronenberg, Manoel de Oliveira
Spouse	Jeanne Buñuel (1925 – his death)

Luis Buñuel Portolés (Spanish pronunciation: [ˈlwis βuˈɲwel]; 22 February 1900 – 29 July 1983) was a Spanish-born Mexican filmmaker who worked in Spain, Mexico, France and the United States.^[1]

Early years[link]

Buñuel was born in Calanda, a small town in the province of Teruel, in Aragón, Spain, to Leonardo Buñuel and María Portolés. He would later describe his birthplace by saying that in Calanda, "the Middle Ages lasted until World War I."^[2] The oldest of seven children, Luis had two brothers, Alfonso and Leonardo, and four sisters: Alicia, Concepción, Margarita and María.

When Buñuel was just four and a half months old, the family moved to Zaragoza, where they were one of the wealthiest families in town. In Zaragoza, Buñuel received a strict Jesuit education at the private Colegio del Salvador. After being kicked and insulted by the study hall proctor before a final exam, Buñuel refused to return to the school. He told his mother he had been expelled, which was not true—and what's more, he had received the highest marks on his world history exam.^[3] Buñuel finished the last two years of his high school education at the local public school.

In 1917, he went to university in Madrid. While studying at the University of Madrid (now Universidad Complutense de Madrid), he became a very close friend of painter Salvador Dalí and poet Federico García Lorca, among other important Spaniard artists living in the Residencia de Estudiantes. Buñuel first studied agronomy then industrial engineering and finally switched to philosophy.

Career[link]

This unreferenced section requires citations to ensure verifiability.

First French period[link]

In 1925, Buñuel moved to Paris, where he began work as a secretary in an organization called the International Society of Intellectual Cooperation. He later found work in France as an assistant director to Jean Epstein on Mauprat (1926) and La chute de la maison Usher (1928), and Mario Nalpas on La Sirène des Tropiques (1927) starring Josephine Baker.

It was during this time that he met his future wife, Jeanne Rucar, whom he married in 1934. The two remained married throughout his life and had two sons, Juan-Luis and Rafael. Diego Buñuel, filmmaker and host of the National Geographic Channel's Don't Tell My Mother series, is his grandson.

Screenshot of the eyeball (actually that of a dead calf) being slit by Buñuel in the film Un Chien Andalou.

Next, Buñuel co-wrote and directed a 16-minute short film, Un chien andalou (1929), with Dalí. This film – which features a series of startling images of a Freudian nature – was enthusiastically received by the burgeoning French Surrealist movement of the time, and continues to be shown regularly in film societies to this day.

He followed Un chien andalou with L'Âge d'Or (1930), partly based on the Marquis de Sade's 120 Days of Sodom. The film was begun as a second collaboration with Dalí, but, by the time the film went into production, Buñuel and Dalí had had a falling out, and so Dalí actually had nothing to do with the actual making of L'Âge d'Or. During this film, he worked around his technical ignorance by filming mostly in sequence and using nearly every foot of film that he shot. L'Âge d'Or was read to be an attack on Catholicism, and thus, precipitated an even larger scandal than Un chien andalou. The right-wing press criticized the film and the police placed a ban on it that lasted 50 years.

Spain[link]

Following L'Âge d'Or, Buñuel returned to Spain and directed Las Hurdes: Tierra Sin Pan (1933), one of the first examples of mockumentary. The film focused on peasant life in Extremadura, one of Spain's poorest states, where "fresh bread was unheard of" and where "at times, a goat falls from the rocks", presumably from starvation. The success of the rebels in the Spanish Civil War caused the expatriation of many artists and intellectuals from the Nationalist dictatorship of Francisco Franco (whose revolt against the overtly atheist Republican government had the strong backing of the Spanish Catholic hierarchy). Buñuel - living at the time in Madrid - could see that someone with his political and artistic sensibilities would have no place in Nationalist Spain. Back in Paris, Buñuel co-wrote and produced a documentary short about the changing political climes in Spain, called España 1936.

United States[link]

In exile after the Spanish Civil War, Buñuel settled in Hollywood to capitalize on the short-lived fad of producing foreign-language versions of American films for sales abroad. After Buñuel worked on a few Spanish-language remakes, the industry eventually turned to the dubbing of dialogue. He then left Hollywood for New York, getting a job at the Museum of Modern Art from Iris Barry, where he put together compilation films, including a juxtaposition of two Nazi propaganda films: Leni Riefenstahl's Triumph of the Will (1934) and Hans Bertram's Feuertaufe.

Dali, in his autobiography, The Secret Life of Salvador Dalí (1942), suggested that he had split with Buñuel because the latter was a Communist and an atheist. Buñuel was fired (or resigned) from MOMA, supposedly after Cardinal Spellman of New York went to see Iris Barry, head of the film department at MOMA. Buñuel then went back to Hollywood, where he worked in the dubbing department of Warner Brothers from 1942 to 1946.

In his 1982 autobiography Mon Dernier soupir (My Last Sigh, 1983), Buñuel wrote that he submitted a treatment to Warner Bros. about a disembodied hand which was later adapted (without his consent and without paying him royalties) into The Beast with Five Fingers (1946) with Peter Lorre. Buñuel also wrote that, over the years, he rejected Dalí's attempts at reconciliation.

Mexican period[link]

Buñuel arrived in Mexico in 1946 and acquired Mexican citizenship in 1949. He relinquished his Spanish passport as it was not possible to have dual citizenship then. The first film he directed there was Gran Casino (1946), a vehicle for Stars Jorge Negrete and Libertad Lamarque, produced by Oscar Dancigers. Buñuel found the plot boring and it was not hugely successful.

He later again collaborated with Dancigers directing El Gran Calavera (1949), a successful film starring Fernando Soler. As Buñuel himself has stated, he learned the techniques of directing and editing while shooting El Gran Calavera.^{[citation needed]} Its success at the box office encouraged Dancigers to accept the production of a more ambitious film for which Buñuel, apart from writing the script, had complete freedom to direct. The result was his critically acclaimed Los Olvidados (1950), which was recently considered by UNESCO as part of the world's cultural heritage. Los Olvidados (and its triumph at Cannes) made Buñuel an instant world celebrity and the most important Spanish-speaking film director in the world.

Buñuel remained in Mexico for the rest of his life, although he spent periods of time filming in France and Spain. In Mexico, he filmed 20 films in all, including:

• Él (1953)
• The Criminal Life of Archibaldo de la Cruz (1955)
• Nazarín (1959) (based on a novel by Spain's Benito Pérez Galdós, and adapted by Buñuel to a Mexican context)
• The Exterminating Angel (1962)
• Simon of the Desert (1965)

Second French period[link]

After the golden age of the Mexican film industry ended, Buñuel started to work in France along with Silberman and Carrière. During this "French Period", Buñuel directed some of his best-known works:

• Diary of a Chambermaid (1964)
• Belle de Jour (1967)
• Tristana (1970, a French/Spanish/Italian co-production)
• The Discreet Charm of the Bourgeoisie (1972)
• The Phantom of Liberty (1974)
• That Obscure Object of Desire (1977)

Last years[link]

In 1972, Buñuel, along with his screenwriter Jean-Claude Carrière and producer Serge Silberman, was invited by George Cukor to his house. This gathering was particularly memorable and other invitees included Alfred Hitchcock, Rouben Mamoulian, Robert Mulligan, George Stevens, Billy Wilder, Robert Wise and William Wyler.^[4]

After the release of That Obscure Object of Desire he retired from film making, and wrote (with Carrière) an autobiography, Mon Dernier Soupir (My Last Sigh), published in 1982, which provides an account of Buñuel's life, friends, and family as well as a representation of his eccentric personality. In it, he recounts dreams, encounters with many well-known writers, actors, and artists such as Pablo Picasso and Charlie Chaplin, and antics such as dressing up as a nun and walking around town. As one might deduce from these antics, Buñuel was famous for his atheism. In a 1960 interview with Michele Manceaux in L'Express, Buñuel famously declared: "Thank God I'm an atheist."

However, he repudiated this statement in a 1977 article in The New Yorker. "I'm not a Christian, but I'm not an atheist, either", he said. "I'm weary of hearing that accidental old aphorism of mine, 'I'm an atheist, thank God.' It's outworn. Dead leaves. In 1951, I made a small film called Mexican Bus Ride, about a village too poor to support a church and a priest. The place was serene, because no one suffered from guilt. It's guilt we must escape from, not God."

Buñuel died in Mexico City in 1983. His funeral was very private. There were about 50 people at the most, among them Octavio Paz, José Luis Cuevas, Miguel Littin, his wife and two sons.

Influences[link]

This unreferenced section requires citations to ensure verifiability.

Surrealism[link]

Buñuel's films were famous for their surreal imagery, including scenes in which chickens populate nightmares, women grow beards, and aspiring saints are desired by lascivious women. Even in the many movies he made for hire (rather than for his own creative reasons), such as Susana and The Great Madcap, he usually added his trademark of disturbing and surreal images. Running through his own films is a backbone of surrealism; Buñuel's world is one in which an entire dinner party suddenly finds itself inexplicably unable to leave the room and go home, a bad dream hands a man a letter which he brings to the doctor the next day, and where the devil, if unable to tempt a saint with a pretty girl, will fly him to a disco. An example of a more Dada influence can be found in Cet obscur objet du désir, when Mathieu closes his eyes and has his valet spin him around and direct him to a map on the wall.

Buñuel never explained or promoted his work. On one occasion, when his son was interviewed about The Exterminating Angel, Buñuel instructed him to give facetious answers. For example, when asked about the presence of a bear in the socialites' house, Buñuel fils claimed it was because his father liked bears. Similarly, the several repeated scenes in the film were explained as having been put there to increase the running time.^{[citation needed]}

Religion[link]

Many of his films were openly critical of bourgeois morals and organized religion, mocking the Roman Catholic Church in particular but religion in general, for supposed hypocrisy. Many of his most famous films demonstrate this:

Head of Luis Buñuel in Centro Buñuel Calanda.

• Un chien andalou (1929) – A man drags pianos, upon which are piled two dead donkeys, two priests, and the tablets of The Ten Commandments.
• L'Âge d'Or (1930) – A bishop is thrown out a window, and in the final scene one of the culprits of the 120 days of Sodom is portrayed by an actor dressed in a way that he would be recognized as Jesus.
• El Gran Calavera (1949) – During the final scenes of the wedding, the priest continuously reminds the bride of her obligations under marriage. Then the movie changes and the bride runs chasing her true love.
• Ensayo de un crimen (1955) – A man dreams of murdering his wife while she's praying in bed dressed all in white.
• Nazarin (1959) – The pious lead character wreaks ruin through his attempts at charity.
• Viridiana (1961) – A well-meaning young nun tries unsuccessfully to help the poor. One scene in the film parodies The Last Supper.
• El ángel exterminador (1962) – The final scene is of sheep entering a church, mirroring the entrance of the parishioners.
• Simón del desierto (1965) – The devil tempts a saint by taking the form of a bare-breasted girl singing and showing off her legs. At the end of the film, the saint abandons his ascetic life to hang out in a jazz club.
• La Voie Lactée (1969) – Two men travel the ancient pilgrimage road to Santiago de Compostela and meet embodiments of various heresies along the way. One dreams of anarchists shooting the Pope.

Technique[link]

This unreferenced section requires citations to ensure verifiability.

This section is written like a personal reflection or essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (June 2011)

Buñuel's style of directing was extremely economical. He shot films in a few weeks, rarely deviating from his script (the scene in Tristana where Catherine Deneuve exposes her breasts to Saturno — but not the audience — being a noted exception) and shooting in order as much as possible to minimize editing time. He told actors as little as possible, and limited his directions mostly to physical movements ("move to the right", "walk down the hall and go through that door", etc.). He often refused to answer actors' questions and was known to simply turn off his hearing aid on the set. Though they found it difficult at the time, many actors who worked with him acknowledged later that his approach made for fresh and excellent performances.

Buñuel preferred scenes that could simply be pieced together end-to-end in the editing room, resulting in long, mobile, wide shots which followed the action of the scene. Examples are especially present in his French films. For example, at the ski resort's restaurant in Belle de jour, Séverin, Pierre, and Henri converse at a table. Buñuel cuts away from their conversation to two young women, who walk down a few steps and proceed through the restaurant, passing behind Séverin, Pierre, and Henri, at which point the camera stops and the young women walk out of frame. Henri then comments on the women and the conversation at the table progresses from there.

Buñuel disliked non-diegetic music (music not intrinsic to the scene itself) and avoided its use, although the traditional drums from Calanda are heard in most of his films. The films of his French era were not scored and some (Belle de jour, Diary of a Chambermaid) are without music entirely. Belle de jour does, however, feature (potentially) non-diegetic sound effects.

Tributes[link]

• In Calanda, Spain a bust of the head of Luis Bunuel is on display at the Centro Bunuel Calanda, a museum devoted to the director.^[5]
• One of the main theatres at the Palais des Festivals et des Congrès, where the Cannes Film Festival is held, is named after him: Salle Buñuel.

Awards[link]

Luis Buñuel was given the Career Golden Lion in 1982 by the Venice Film Festival and the FIPRESCI Prize – Honorable Mention in 1969 by the Berlin Film Festival. In 1977, he received the National Prize for Arts and Sciences for Fine Arts.

Filmography[link]

Bibliography[link]

• Bunuel Bibliography (via UC Berkeley)
• Buñuel biography
• Luis Buñuel, Mi Ultimo Suspiro (English translation My Last Sigh Alfred A. Knopf, 1983)
• Froylan Enciso, "En defensa del poeta Buñuel", en Andar fronteras. El servicio diplomático de Octavio Paz en Francia (1946–1951), Siglo XXI, 2008, pp. 130–134 y 353–357.
• Michael Koller "Un Chien Andalou", Senses of Cinema January 2001 Retrieved on 26 July 2006.
• Ignacio Javier López, The Old Age of William Tell: A Study of Buñuel's '"Tristana", MLN 116 (2001): 295–314.
• Ignacio Javier López, "Film, Freud and Paranoia: Dalí and the Representation of Male Desire in An Andalusian Dog", "'Diacritics'" 31,2 (2003): 35–48.
• Javier Espada y Elena Cervera, México fotografiado por Luis Buñuel.
• Javier Espada y Elena Cervera, Buñuel. Entre 2 Mundos.
• Javier Espada y Asier Mensuro, Album fotografico de la familia Buñuel.

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Luis Buñuel

• Luis Buñuel at the Internet Movie Database
• Senses of Cinema: Great Directors Critical Database
• They Shoot Pictures, Don't They?
• Interview with Jean-Claude Carriere – Bunuel's screenwriter and friend
• The Religious Affiliation of Luis Buñuel
• Luis Buñuel at Find a Grave
• La furia umana, n°6, multilanguage dossier (texts by Gilberto Perez, Adrian Martin, Toni D'Angela, Alberto Abruzzese and others) [1]

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Buñuel is a town and municipality located in the province and autonomous community of Navarre, northern Spain.

External links[link]

• BUÑUEL in the Bernardo Estornés Lasa - Auñamendi Encyclopedia (Euskomedia Fundazioa) (Spanish)

Coordinates: 41°59′N 1°27′W / 41.983°N 1.45°W / 41.983; -1.45

This article about a location in Navarre, Spain, is a stub. You can help Wikipedia by expanding it. v t e

Catherine Deneuve
Catherine Deneuve in 1995
Born	Catherine Fabienne Dorléac (1943-10-22) 22 October 1943 (age 68) Paris, France
Years active	1957–present
Spouse	David Bailey (1965–72)

Signature

Catherine Deneuve (French pronunciation: [katʁin dəˈnœv], born 22 October 1943) is a French actress. She gained recognition for her portrayal of aloof and mysterious beauties in films such as Repulsion (1965) and Belle de jour (1967).^[1] Deneuve was nominated for an Academy Award for Best Actress in 1993 for her performance in Indochine; she also won César Awards for that film and The Last Metro (1980). One of France's most renowned actresses, she has also appeared in seven English-language films, most notably the 1983 cult classic The Hunger. In 2008, she appeared in her 100th film, Un conte de Noël.

Early life[link]

Deneuve was born Catherine Fabienne Dorléac in occupied Paris to French stage and screen actor Maurice Dorléac and actress Renée Deneuve (born 1912). Deneuve is the second of their three daughters. Her older sister was Françoise Dorléac (1942-1967) and her younger sister is Sylvie Dorléac (born 1946).^[2] They have a maternal half-sister, Danielle (born 1937). Deneuve attended Catholic schools.^[3]

Film career[link]

As Catherine Dorléac, she made her film debut at age eleven in Les Collégiennes (1957), filmed in 1955 but not released until two years later. Deneuve subsequently began using her mother's surname professionally so she wouldn't be confused with her elder sister, Françoise Dorléac, who was using their father's name.

Deneuve then starred in films such as Vice and Virtue (1962), directed by Roger Vadim. The film that brought her stardom was Jacques Demy's 1963 musical Les Parapluies de Cherbourg. She made two more films with Demy, most notably another musical, Les Demoiselles de Rochefort (1967), with Dorléac – who was killed in a car accident the following year – as her twin sister. Further prominent films from this early time in her career included Roman Polanski's Repulsion (1965), Jean-Paul Rappeneau's La Vie de château (1966), which employed her 'underused comic skills', and Luis Buñuel's Belle de Jour (1967), – as the ' haut-bourgeois housewife who achieves sexual satisfaction working in a Parisian brothel.'^[4] In the Polanski film, Deneuve first portrayed the character archetype for which she would be nicknamed the "ice maiden", playing a beautiful Belgian girl, an emotionally distant and mysterious woman 'going homicidally insane in Kensington.' Her work for Buñuel would be her most famous,^[5][6] and her screen persona as "a cold, remote erotic object which dreams are made on" reached a peak, according to the critic Philip French, in her second Buñuel film Tristana, (1970).^[7] Deneuve remained active in European films throughout the 1960s and 70s, but limited her appearances in American films of the period to The April Fools (1969) and Hustle (1975).

Shortly before his death in 1980, Alfred Hitchcock had planned to direct Deneuve in an adaptation of the spy novel The Short Night. Her most notable films during the decade were François Truffaut's Le Dernier métro (1980), which garnered her the César Award for Best Actress, and Tony Scott's cult classic The Hunger (1983), her third American film in which she starred as a bisexual vampire, featuring David Bowie and Susan Sarandon. Deneuve's sex scene with Sarandon in The Hunger brought her a significant lesbian following.^[8]

Deneuve won a second César Award and received an Academy Award nomination as Best Actress for her performance in Indochine (1992), which also won the Academy Award for Best Foreign Film. Deneuve is one of the distinct few to receive an Oscar nomination for a non-English speaking role. Her other significant films were André Téchiné's Ma saison préférée (1993) and Les Voleurs (1995). In 1997, Deneuve was the protagonist in the music video for the song N'Oubliez Jamais sung by Joe Cocker. In 1998 she won acclaim and the Volpi Cup at the Venice Film Festival for her performance in Place Vendôme. In 1999 Deneuve appeared in five films, including: Est-Ouest, Le temps retrouvé, and Pola X. Her part in Lars von Trier's musical drama Dancer in the Dark (2000) alongside Icelandic singer Björk was subject to considerable critical scrutiny. The film was selected for the Palme d'Or at the Cannes Film Festival.

Deneuve's fourth and most recent American film to date was The Musketeer (2001). She shared the Silver Bear Award for Best Ensemble Cast at the Berlin International Film Festival for her performance in 8 Women (2002). In 2005, Deneuve published her diary A l'ombre de moi-meme ("In My Own Shadow", published in English as Close Up and Personal: The Private Diaries of Catherine Deneuve); in it she writes about her experiences shooting the films Indochine and Dancer in the Dark; and working with leading men such as Burt Reynolds, Jack Lemmon, Vincent Perez, William Hurt, John Malkovich, Alain Delon, Gérard Depardieu, and Marcello Mastroianni. In 2006, she headed the jury at the Venice Film Festival. She made another brief return to Hollywood with a guest-starring role on the FX TV series Nip/Tuck during its fourth season in November 2006. She also lent her voice to the Oscar-nominated animated feature Persepolis (2007). In 2008, she appeared in her 100th film, Un conte de Noël. That same year she was honored at the 2008 Cannes Film Festival for her contributions to European cinema.

In 2010 Deneuve starred in the period comedy Potiche (2010). Her latest film is the musical Les Bien-aimés (2011) co-starring her real-life daughter Chiara Mastroianni. Although they share four previous acting credits, this is the first time Deneuve and Mastroianni have shared a scene together.

During an interview at the Cannes Film Festival with Ali Naderzad, Deneuve was asked which was her own favorite film. "I still say it was The Umbrellas of Cherbourg. To do a film completely with music like an opera was an incredible experience. But to work with music all the time, it's such a lift, you know? It's an opera, it's very different."^[9]

Career outside of film[link]

Modeling[link]

One of the world's great beauties, her image was used to represent Marianne, the national symbol of France, from 1985 to 1989. She was the face of Chanel No. 5 in the late 1970s and she caused sales of the perfume to soar in the United States – so much so that the American press, captivated by her charm, nominated her as the world's most elegant woman.^[10]

In 1983, American Home Products retained her to represent their cosmetics line. The company hired world-renowned photographer Richard Avedon and Catherine Deneuve to promote its line of Youth Garde cosmetics in which she famously proclaimed "Look closely. Next year I will be 40."^[11]

She is considered the muse of designer Yves Saint Laurent; he dressed her in the films Belle de Jour, La Chamade, La sirène du Mississipi, Liza, and The Hunger. In 1992, she became a model for his skincare line.

In 2001, she was chosen as the new face of L'Oréal Paris. In 2006, Deneuve became the third inspiration for the M•A•C Beauty Icon series. Deneuve and make-up artists collaborated on the colour collection that became available at M•A•C locations worldwide in February 2006. Deneuve began appearing in the new Louis Vuitton luggage advertisements in 2007.

Entrepreneurial[link]

Deneuve introduced her own perfume, Deneuve, in 1986. She is also a designer of glasses, shoes, jewellery and greeting cards.

Charities[link]

Deneuve in 1999

• Deneuve was appointed UNESCO Goodwill Ambassador for the Safeguarding of Film Heritage in 1994. On 12 November 2003, she resigned her position to protest the nomination of French businessman Pierre Falcone as the Angola representative, which enables him to escape justice and investigation for illegal arms dealing.^[12]

• Deneuve asked that the rights owed to her from her representation of Marianne be given to Amnesty International.^[13]

• Louis Vuitton made a donation to The Climate Project, spearheaded by Al Gore, on behalf of Deneuve.^[14]

• Deneuve is also involved with Children Action, Children of Africa, Orphelins Roumains and Reporters Without Borders.^[15]

• Douleur sans frontiers (Pain Without Borders) – At the end of 2003, Deneuve recorded a radio commercial to encourage donations to fight against the pain in the world, notably for the victims of landmines.^[16]

• Handicap International – In the middle of July 2005, Deneuve lent her voice to the message of radio commercials, TV and cinema, which denounced the use of the BASM (cluster bombs).^[17]

• Voix de femmes pour la démocratie (Voice of women for democracy) – Deneuve read the text, "Le petit garçon", of Jean-Lou Dabadie, on the entitled CD, "Voix de femmes pour la démocratie." The CD was sold for the benefit of the female victims of the war and the fundamentalisms that fight for democracy.^[18]

• Deneuve has also been involved with various charities in the fight against AIDS and cancer.^[16]

Political involvement[link]

• In 1972, Deneuve signed the Manifesto of the 343 (Manifeste des 343 salopes, Manifesto of the 343 sluts). The manifesto was an admission by its signers to have practiced illegal abortions and therefore exposed themselves to judicial actions and prison sentences.^[19] It was published in Le Nouvel Observateur on 5 April 1971. That same year, feminist lawyer Gisèle Halimi founded the group, Choisir ("To Choose"), to protect the women who had signed the Manifesto of the 343.

• Deneuve is involved with Amnesty International's program to abolish the death penalty.

• In 2001, Deneuve delivered a petition organized by the French-based group, "Together Against the death penalty", to the U.S. Embassy in Paris.^[20]

• In April 2007, Deneuve signed a petition on the internet protesting the "misogynous" treatment of socialist presidential candidate Ségolène Royal. More than 8,000 French men and women signed the petition, including French actress Jeanne Moreau.^[21]

Personal life[link]

Deneuve speaks fluent French, Italian, English and is semi-fluent in German.^[22] Her hobbies and passions include gardening, drawing, photography, reading, music, cinema, fashion, antiques and decoration.^[16]

In 1961, at age 17, Deneuve moved in with director Roger Vadim, who at 33 was nearly twice her age. They had a son, Christian Vadim (b. 18 June 1963), when Deneuve was 19 and Vadim was 35. The pair ended their relationship a month later.^[2]

On August 19, 1965, the 21-year old Deneuve married British photographer David Bailey. They divorced in 1972 but remain friends, and Deneuve has since said "Marriage is obsolete and a trap."^[23]

Following her separation from Bailey, Deneuve had a relationship with actor Marcello Mastroianni, with whom she co-starred in four films. At age 28, Deneuve gave birth to their daughter, Chiara Mastroianni (b. 28 May 1972).^[2] The couple split in 1975 but remained friends. Deneuve was present at his bedside when he died of pancreatic cancer on December 19, 1996.^[2]

Deneuve also had a brief relationship with actor Clint Eastwood in 1966 while on a break from Bailey,^[24] and dated director François Truffaut in the late 1970s.^[2]

She had an on-and-off, long-term relationship with Canal+ tycoon Pierre Lescure during the 1980s and '90s.^[2]

In an August 2007 interview, the intensely private Deneuve stated that she was in a relationship but would not disclose the name of her partner.^[25]

Deneuve has four grandchildren. She became a grandmother for the first time at age 43 in September 1987, when Christian's 18-year-old girlfriend gave birth to their son Igor.^[26] Her other grandchildren are: Milo (b. 1996, Chiara's son with Pierre Torreton), Anna (b. 2003, Chiara's daughter with Benjamin Biolay), and Lou (b. 2010, Christian's daughter with Julia Livage).^[27]

Deneuve is a longtime cigarette smoker and has expressed her frustration with the increasing bans on smoking. During a press conference held in a Madrid hotel in March 2011 to promote Potiche, she was told to put out her cigarette and refused by saying she would pay the fine instead. "I think it is all very excessive", Deneuve told reporters.^[28]

Filmography[link]

Discography[link]

• 1980 :
  • Dieu fumeur de havanes – by and with Serge Gainsbourg (original film soundtrack Je vous aime by Claude Berri)
  • Quand on s'aime – duet with Gérard Depardieu, for a television programme

• 1981 : Her first and only album issued – Souviens-toi de m'oublier written by Serge Gainsbourg

1. Digital delay
2. Depression au-dessus du jardin
3. Epsilon
4. Monna Vanna et Miss Duncan
5. Marine bond tremolo
6. Ces petits riens (duet with Serge Gainsbourg) – original version performed by Gainsbourg and Juliette Gréco (1964)
7. Souviens-toi de m'oublier (duet with Serge Gainsbourg)
8. Overseas telegram
9. What tu dis qu'est-ce tu say
10. Oh Soliman
11. Alice helas

• 1993 : Paris Paris – by and with Malcolm McLaren
• 1997 : Allo maman bobo – by Alain Souchon, during an evening with Les Enfoirés in 1997 with Alain Souchon, Jean-Jacques Goldman and Laurent Voulzy
• 1999 : Joyeux anniversaire maman – by Stomy Bugsy (original film soundtrack Belle-maman by Gabriel Aghion)
• 2000 : Cvalda – by and with Björk (original film soundtrack Dancer in the dark by Lars von Trier)
• 2001 : Toi jamais – original film soundtrack Huit Femmes by François Ozon (original version performed by Sylvie Vartan en 1976)
• 2006 : Ho capito che ti amo – original film soundtrack Le héros de la famille by Thierry Klifa
• 2010 : C'est beau la vie by Jean Ferrat – original film soundtrack Potiche by François Ozon

• Audiobooks for Éditions des Femmes :
  • Cendrillon by Charles Perrault
  • Bonjour tristesse by Françoise Sagan
  • Les Petits Chevaux de Tarquinia by Marguerite Duras
  • Les Paradis aveugles by Duong Thu Huong
  • La Marquise d'O by Heinrich Von Kleist
  • Lettres à un jeune poète by Rainer Maria Rilke
  • Lettres à ma mère by Sylvia Plath

Awards and nominations[link]

César Awards[link]

Academy Awards[link]

BAFTA Awards[link]

Other Awards[link]

See also[link]

• Cinema of France

References[link]

External links[link]

Wikimedia Commons has media related to: Catherine Deneuve

• Film.guardian.uk interview 21 September 2005
• Catherine Deneuve at the Internet Movie Database
• Catherine Deneuve at Yahoo! Movies
• Catherine Deneuve at AllRovi
• Catherine Deneuve at filmsdefrance.com
• Catherine Deneuve on Charlie Rose
• Works by or about Catherine Deneuve in libraries (WorldCat catalog)
• Catherine Deneuve collected news and commentary at The New York Times
• Catherine Deneuve seduces Susan Sarandon while playing Lakme on the piano in the famous lesbian scene from Tony Scott's 1983 film The Hunger.

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