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Emmanuelle Beart is my favourite actress and I have been in her thrall ever since I saw MANON DES SOURCES in 1988. She is a wonderful example of how unfair the world is - Beauty coupled with Talent. |
"Emmanuelle Beart marries to a heartbreakingly perfect classical beauty a subtle questioning romanticism.” - Interview Magazine, 1996.
"Cerebral French beauty... truly angelic.” - Elle, 1996.
"You see Emmanuelle Beart on screen and you just see another beautiful woman. You see her in real life and you wonder why you bothered getting out of bed - ever! With her mane of toffee coloured hair, a flawless complexion, huge blue eyes and cheek bones you could rest your teacup on, Beart is a sure candidate for the Impossibly Stunning trophy” - unidentified
"Voted sexiest French woman and the fourth sexiest in the world - Paris Match, 1994.
‘What, when drunk, one sees in other women,’ the critic Kenneth Tynan once intoned, ‘one sees in Garbo sober.’ For more than a decade, the wry and elusive French actress Emmanuelle Beart has had a similarly intoxicating effect on filmgoers - and on virtually a generation of French directors.’ - Bazaar, 1996
Tragedy, revenge, love and death... what more do you want in a film. - The Daily Telegraph
A richly impressive film - The Independent
Essential viewing for anyone who enjoyed Jean de Florette... There is a satisfying symmetry to events... However in the final scenes, the film slides into a Hardyesque fatalism, with the loose ends tied up a little too neatly, resulting in an air of literary contrivance. It nevertheless succeeds, like the earlier film, in tapping the well-springs of one’s emotions. - Time Out Film Guide
LA BELLE NOISEUSE (1991)
Ravishingly beautiful, piercingly intelligent, immaculately acted 4 hour movie... about
the price paid for artistic creation and the search for the ultimate truth. It is about the
relationship between activity and artefact, and the choice Browning defined as
‘perfection of the life or of the work’. More generally it deals with various meanings
of possession, with the way we manipulate people to our own ends, with the hierarchy
of personal responsibility... I can think of no fictional film that so powerfully and so
patiently conveys the process of artistic creation. - The Observer, 1992
It is a delight to spend time with. The middle two hours show Piccoli, the artist as
dispassionate sadist, posing and sketching the nude Beart - perhaps the most
meticulous and seductive depiction in movies of the hard work of making art.
Rivette’s art is to make his complex film look easy. - Time Magazine, 1991
Sensitively acted... the beautiful Emmanuelle Beart shines - The Sunday Telegraph,
1992
Wonderful performances by the whole cast - The Times, 1992
J’EMBRASSE PAS (I DON’T KISS) (1991)
Only tart-with-a-troubled-heart Beart seems honest in this world without pity. Despite
odd moments of truth and affecting scenes, Techine’s episodic film is a downhill racer:
what at first seems art house austerity reveals itself to be mere posturing. - Time Out
Film Guide
A bleak rites of passage tale, Techine’s film scores in the essentially unsentimental way
Pierre’s downfall is charted. - Sight and Sound, 1992.
UN COEUR EN HIVER (1992)
French filmmaking at its finest... Beart’s performance is immaculate.” - London
Evening Standard, 1993.
Marvelous... this exquisite drama... do not miss. - The Times, 1993
Haunting, and quite wonderfully played by its central trio. - Sunday Express, 1993
Intensely enjoyable... Achingly beautiful music. - Variety, 1993.
This being a French production it’s all done with extreme subtlety, all meaningful looks
and unspoken emotions. It’s a very alluring and compelling film. - unidentified
The completeness of Un Coeur En Hiver as a virtuoso piece of filmmaking derives not
merely from such high-quality ingredients as the flawless central performances but
from its discernibly symphonic structure, marked by assured variations of rhythm and
texture closely linked to the development of its themes.... (Beart, who learned the
violin specially for this role, wields the bow with astonishing conviction and emotion.)
- Sight and Sound, 1993.
Claude Sautet’s Un Coeur En Hiver is probably the most stylish film around at the
moment. It is almost among the best since that style is so completely at the service of
the director’s material that you hardly notice it at all... Beart’s performance is by far
the most subtle she has given... it is not so much a question of acting as reaction since
Sautet demands a show of emotion in a look or gesture rather than anything more
explicit.. a veteran totally in command of his art... no doubting few directors in Europe
and indeed in America can match it. - The Guardian, 1993.
Even though we expect subtle pleasures from French arthouse movies, the delicacy of
Claude Sautet’s marvellous Un Coeur En Hiver takes the breath away... the fascination
is in seeing the characters play out the drama through their daily work routine... this
kind of fare needs razor sharp performances. Sautet and his team do not disappoint...
Beart is exceptional as the poised musician unsettled by Cupid’s darts. - The Times,
1993.
Sautet and his excellent trio of leads managed to convey complex emotional nuances
without resorting to plot contrivance, overemphatic gestures or hackneyed visual
metaphor. Everything is underplayed, made manifest through subtle glances, the
rhythms of the editing and the occasional bursts of Ravel played by Camille. If the
characters are more reminiscent of the novel rather than the cinema, that only goes to
show how adult the film is. - Time Out, 1993
L’ENFER (1993)
Imperfect, underplotted and unresolved, L’Enfer is nonetheless a substantial picture
and admirably acted. - The Observer, 1994.
What ultimately makes the film worthwhile is Emmanuelle Beart. She has the difficult
task of being a completely ambiguous figure, whose uncertain actions are the core if
the film... Chabrol is at his analytical best, following his characters around like an
invisible voyeur, never cracking a smile, never telling a joke, never looking away from
the unpleasantness. - Raymond Johnston,
An engrossing Hitchcockian tale of suspicion and paranoia.... Like a tougher Bardot,
Beart combines desirability, innocence and pert flirtatiousness so captivatingly that we
too become obsessed and start picking for signs. Colourful and clean on the surface,
dark and hellish underneath. - Vogue, 1994.
UNE FEMME FRANCAISE (1995)
Sure to please idolators of Beart’s well-cultivated beauty, Une Femme is a good old-
fashioned melodrama. - Stephen O’Shea,
With eyes like pools brimming over with sadness, Emmanuelle Beart, in a more genteel
version of the Jessica Lange role in Blue Sky, confirms herself as one of France’s most
expressive romantic actresses today. - 8 Days Magazine, 1995
In French cinema it is often the small pleasures - the in-between moments - that are
often the most memorable... the willful, doomed radiance of Emmanuelle Beart -
perhaps the most beautiful woman on film - in Une Femme Francaise. - Time
Magazine, 1995
NELLY ET MONSIEUR ARNAUD (1995)
Working with a psychological acuity that no American filmmaker could match, Sautet
reveals every nuance of their dawning intimacy... this feels like an old man’s film, both
in its fascination with the tug-of-war between yearning and resignation, and in the
serene confidence of its classicism; he knows that life will always outsmart our hopes
and expectations. Worldly, tactful, and marvellously acted - Beart and Serrault give
performances of astonishing delicacy - this tale of unexpected love is as finely tuned as
a vintage Citroen. - Vogue, 1996.
Claude Sautet’s Nelly et Monsieur Arnaud is, if anything, even more civilised than his
Un Coeur En Hiver, with a pair of masterly central performances. The plot is slight, the
end a dying fall rather than a dramatic resolution. Yet such is the social detail and the
barometric registration of mood and nuance by Serrault and Beart that the movie
seems to be in a constant state of turbulence. - The Observer, 1996.
Sautet, with the aid of an extraordinary performance from Serrault and a luminous one
form Beart, orchestrates the progress of this obsessional relationship with the kind of
precision that only a director fully in command of both his style and material could
muster... as a quiet, intimate dissection of the emotions Nelly et Monsieur Arnaud is
hard to beat- The Guardian Weekly, 1996
Beart, routinely described as the most beautiful young actress in France, makes deft
use of her Cocteau-painting eyes and her shy, wonderfully knowing smile. - Time
Magazine, 1996.
MISSION: IMPOSSIBLE (1996)
Now what can one say to all that? Her role was a cipher, it was a Cruise vehicle and
I have to admit she did not come across well at all. Was it the script or the
language? Some of these reviewers should know better(the first three excepted).
Beart can’t act?!!? Limited acting range?!!? Just shows how limited the viewing
scope of some of these so-called scribes are.
Would welcome any opinions about this and my Beart Gallery.
Jacques Rivette’s feted film about a temperamental artist and his muse (Beart) was
one of the hits of the 1991 Cannes Festival, winning several prizes (including the
Grand Prix) and lavish praise from the critics. 238 minutes long but worth every
minute, applause to both filmmakers and the audience.
Pierre escapes provincial life to end up as a rent boy on the streets of Paris.
My all-time favourite film. Since its world premiere at the Venice Film Festival in
1992, this superbly acted picture about friendship, love and vocation has received
overwhelming critical acclaim and has played to rapturous audiences. Winner of the
Silver Lion in Venice and two French Cesars.
You can find more reviews of Un Coeur En Hiver at
Claude Chabrol’s film is a relentlessly bleak, gripping study of pathological jealousy.
Is Beart a sleeparound slut or a devoted wife much wronged?
http://euphony.com/euphony/reviews/movie/Lenfer-RJ.html
An operatic tale of stubbornly adulterous womanhood set against the backdrop of
postwar France. Winner: Best Actor and Actress at the Moscow Film Festival, 1995.
http://cannes.zds.softway.worldnet.net/moscow/mfilg2.htm
Another perfection piece by Claude Sautet charting the growing relationship between
a young woman (Beart) who has recently been wounded in love and an elegant
magistrate looking for someone to help with his memoirs. Multiple Cesars winner, it
is a beautiful companion piece to Un Coeur En Hiver.
More reviews can be found at:
Oh dear. Fans of Beart, please avoid, else be prepared to be gravely disappointed.
Witness the following reviews:
For more information on Emmanuelle Beart and her films:
This web site is managed by Min.
Last updated on 3rd August 2000.
