Jean-Paul Belmondo

[upbeat music] Antonioni, Mastroianni, Fellini, Pasolini, Billy Wilder, Lana Turner, Rainer Werner Fassbinder, Marlene Dietrich, Ernst Lubitsch, Jane Austen, Charles Chaplin, François Truffaut, Jean-Pierre Léaud, Belmondo, Brigitte Bardot.

La manie du cinéma.

Cinémania.

Oh, there's also Clyde's sunglasses.

One eye pops out of his sunglasses which is a reference to Jean-Paul Belmondo having the same thing happen to him in Breathless.

And then, oh god,

and then we get the death scene.

And so all of these guys being, sort of doing older action heroes is, is, like, a great sort of knowing bit.

It's also one that connects in completely with something, uh, like, uh, something like Breathless, for instance, where you have Jean-Paul Belmondo kind of doing Humphrey Bogart, right? It's, it's just this endless reproduction of masculinity.

It's, uh, it's great.

Mimesis.

from

Probably 79, 80 with my man, Jean-Paul Belmondo.

The movie was called The Body of My Enemy, which is a pretty hard title.

And it's got like the poster has Belmondo just looking swank in a suit, just burning cash.

Marlene Dietrich, Ernst Lubitsch, Jane Austen, Charles Chaplin.

François Truffaut, Jean-Pierre Léaud, Belmondo, Brigitte Bardot.

La manie du cinema.

CinéMania.

I mean, when you make documentaries, you always influence the subject.

It's always partly about you, but not as much as if you're an auteur filmmaker and you do fictions about a young man and Belmondo and Jane Seberg.

But René definitely is trying to grasp at something... at big world events there's a conscience i think like i think somebody they used to call him that or i forget what what his name or nickname was but yeah he was regarded as a bit of the conscious the world conscience of that bunch right of the i think he's the rive gauche guys with varda and chris marker i forget i keep that makes sense yeah

um well i don't know how you make a movie like night and fog and just not decide that everything has to be about something, about something bigger after that.

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This second episode of Beauty and the Beast concludes with the later work of Jean-Paul Belmondo and Alain Delon.

I hope you enjoy the show.

We left our two heroes at the end of Part 1 in the late 60s, with Alain Delon appearing in Le Samouraï, directed by Jean-Pierre Melville in 1967.

Jean-Paul Belmondo, meanwhile, had been in another unforgettable Jean-Luc Godard movie, Pierrot Le Fou, with Anna Karina in 1965.

It's more or less the same story as Breathless.

Belmondo here is a bored husband fired from his job, who decides to leave town with an ex-lover he meets again by chance at a party.

mean, I think there's a couple of things to say.

I think the first thing is after he has Les Cousins, he makes another film called A Double Tour with Jean-Paul Belmondo, one of the faces of the French New Wave.

And then he makes four more non-commercial films, each of which are huge flops at the box office.

He's struggling anyway when he's trying to work in that auteurist mode.