The 1970s in Film and TV
Critic Vincent Canby praised her in work in Gérard Brach's The Boat on the Grass (Le bateau sur l'herbe, 1971), in which she starred as Eleonore, a young girl between two friends (Jean-Pierre Cassel, John McEnery). She starred in Hearth Fires (Les feux de la chandeleur, 1972) as Laura, a daughter who wants to reconcile her parents (Annie Girardot, Jean Rochefort) and who fells in love with her mother's best friend (Bernard Fresson). Alongside to Robert Hossein she is the priest's love Françoise in Forbidden Priests (Prêtres interdits, 1973). In Home Sweet Home (1973), she played a hardened nurse who is changed by a love affair with a social worker (Jacques Perrin). She played a dual role in The Choice (Le choix, 1976). She starred in the Italian films Number One (1973), La ragazza di via Condotti (1973), and A Spiral of Mist (Una spirale di nebbia, 1977). She played a nun in Kita No Misaki - Cap du Nord (1976), by Japanese director Kei Kumai. Among other films of the 1970s were Malicious Pleasure (Le malin plaisir, 1975), Trop c'est trop (1975) and The Pawn (Le pion, 1978).
In 1970 she starred as Orphan Françoise in mini-series Mauregard, directed by Truffaut's co-writer Claude de Givray. Other TV roles in the decade are Sheherazade (in Shéhérazade), Louise de La Vallière (in Le chateau perdu), Lucile Desmoulins (in La passion de Camille et Lucile Desmoulins) and Penny in Le robots pensants, based on a horror novel by George Langelaan. Among many other TV-movies (Mamie Rose, La Mandragore, Monsieur Seul, Fou comme François, Les anneaux de Bicêtre, Ulysse est revenu) in the 70th she got a great popularity as heroine of mini-series The Island of Thirty Coffins in 1979.
Read more about this topic: Claude Jade
Famous quotes containing the word film:
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
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