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Catherine Deneuve: Roles
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Catherine Deneuve is a renowned French actress, who was born on October 22, 1943 in Paris, France the actress was named as Catherine Fabienne Dorléac at her birth. Catherine Deneuve is said to hail from a family of equally talented actors with father Maurice Dorléac a stage and cine star and mother Renée Deneuve an actress. At the tender age of 13 the actress received her debut role in the movie Les Collegiennes in 1956.
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Catherine Deneuve won the César Award for Best Actress in 1981 for her performance in Le Dernier métro (1980). She won the César Award for Best Actress a second time for her starring role in the 1992 film, Indochine and was nominated for an Academy Award for Best Actress for the same performance.
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The burst of stardom that accompanied Deneuve's portrayal led to two of her archetypal ice maiden roles, first in Roman Polanski's Repulsion in 1965 and then in Buñuel's 1967 Belle de Jour. Deneuve's startling portrayal of an icy, sexually adventurous housewife in the latter film helped to establish her as one of the most remarkable and compelling actresses of her generation. She further demonstrated her talent that year in Demy's Umbrellas musical follow-up, Les Demoiselles de Rochefort, which she starred in with her sister, Françoise Dorléac.
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John Baxter, an acclaimed Australian-born film writer based in France, says: "Everyone loves Catherine Deneuve. How could you not love Catherine Deneuve? But it is true that, unlike, say, a Jeanne Moreau, she has been unwilling to try riskier, more demanding roles as she has got older." Some critics suggest that Deneuve has simply recognised the limitations of her own talent.
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After a couple of child roles, the 16-year-old Deneuve agreed to make her first proper film, Les Portes Claquent, in 1960 - to take the role of her sister's sister. She adopted her mother's name, Deneuve, to distinguish herself from Françoise. In 1967, Françoise was killed in a road accident, aged 25.
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Based on a 17th Century fairytale, Catherine Deneuve is the luminous central figure around which other characters orbit. She appears in dual roles, as both mother/queen and daughter/princess, unequivocally reinforcing the primacy of her screen presence.
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