When I first started Vague Visages seven months ago at Blogger, I was unfamiliar with the prolific career of Marie Dubois, who passed away last Wednesday at the age of 77. My project began by re-watching the early films of the French New Wave, taking hundreds of screenshots and choosing my favorites for the blog and Instagram account. I was expecting the usual faces (Francois Truffaut, Jean-Luc Godard, Jean-Pierre Léaud, Jean-Paul Belmondo, Anna Karina), but quickly discovered how much I had to learn when the beautiful face of Marie Dubois caught my attention in Truffaut’s 1960 classic, Shoot the Piano Player.
The breaking of the fourth wall was obviously typical of French New Wave films, however Dubois caught me off guard. Her look captured something magical; a secret of cinema. She knew something we didn’t as viewers. As I kept revisiting more films, I noticed Dubois again in Truffaut’s Jules et Jim (1962) and I simply had to know more about her.
Marie Dubois made her film debut in Le Signe du Lion, the feature debut of New Wave original Éric Rohmer, and her career spanned five decades while working with cinematic legends such as Luchino Visconti (The Innocent), Roger Vadim (La Ronde), Louis Malle (Le Voleur), Alain Resnais (Mon once d’Amérique), Claude Chabrol (Rien ne va plus) and of course, Francois Truffaut.
I’m looking forward to exploring the full career of Marie Dubois, as it was her luminous face that inspired me to move further with my original Vague Visages blog and share my findings with existing New Wave fans and a New Wave of cinephiles. Please send any thoughts on Marie Dubois to email@example.com.
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