Being Maria

Being Maria, directed by Jessica Palud, is an emotionally charged biopic that explores the tragic life of Maria Schneider, the French actress whose participation in Bernardo Bertolucci's Last Tango in Paris left an indelible mark on her career and personal life. Based on the book by Being Maria's cousin Vanessa Schneider, the film offers a fascinating and poignant look at Maria Schneider's rise to fame and subsequent fall from grace, focusing on the lasting impact of her traumatic experiences on the set of the controversial 1972 film.

From the outset, Jessica Palud's film immerses the viewer in the tumultuous world of Maria Schneider. We first meet Maria Schneider, played with stunning depth by Anamaria Vartolomei, as a teenager struggling with a troubled family life. Her father, Daniel Gélin (played by Yvan Attal), a famous actor who abandoned her as a child, returns to her life, arousing a mixture of admiration and resentment. Maria Schneider's mother, Marie Gillain, a former model who has raised her on her own, vehemently opposes this new bond and eventually expels Maria Schneider from their home when she discovers their budding relationship.

Thrown into independence, Maria Schneider begins her journey into the film industry with small roles, thanks to her father's connections. This path led to a fateful meeting with director Bernardo Bertolucci, played by Giuseppe Maggio, who cast her in Last Tango in Paris. Jessica Palud portrays Bertolucci as a director consumed by his artistic vision, often to the detriment of his actors' well-being. This portrait is particularly evident in the infamous scene involving Marlon Brando and Jeanne Schneider. Brando, convincingly played by Matt Dillon, and Bertolucci conspired to include a shocking, unscripted act using butter as a lubricant, a decision made without Schneider's prior consent or warning.

The film meticulously reconstructs this disturbing moment, focusing on Schneider's genuine shock and humiliation. Jessica Palud's decision to present this scene from Schneider's point of view intensifies its impact, underscoring the profound betrayal and trauma she has suffered. Dillon's performance captures Marlon Brando's charm and paternalistic attitude, which only amplifies the sense of betrayal when he participates in the unauthorized act. Bertolucci's uncompromising stance on this method of obtaining "real" reactions underscores the ethical issues surrounding staging practices and the exploitation of actors.

After this infamous scene, Being Maria focuses on Maria Schneider's life after The Last Tango in Paris. The film depicts her descent into addiction, her erratic behavior on film sets and her tumultuous personal relationships. Jessica Palud uses a fragmented narrative style to reflect Schneider's fractured state of mind, effectively conveying the chaos and instability that marked his life. Despite the episodic structure, Vartolomei's portrait remains consistently compelling, capturing Schneider's raw pain, vulnerability and resilience.

One of the most poignant aspects of the film is the relationship between Schneider and Noor, played by Céleste Brunnquell. Noor, a young film student, offers Schneider a semblance of stability and genuine affection. Their relationship offers a glimmer of hope in the midst of turmoil, underscoring the healing power of genuine human bonds. Brunnquell's performance adds depth to this dynamic, highlighting the transformative potential of love and understanding.

Technically, Being Maria excels in creating an immersive, emotional experience. Cinematographer Sébastien Buchmann's use of naturalistic lighting and handheld camerawork reinforces the film's intimacy and realism. The raw, unpolished aesthetic reflects Schneider's tumultuous career. In addition, Benjamin Biolay's haunting score underscores the emotional gravity of Schneider's story, reinforcing the film's overall impact.

Jessica Palud's experience as an assistant on film sets, notably Bertolucci's The Dreamers, lends authenticity to her depiction of the filmmaking process and the power dynamics at play. Jessica Palud's direction is both sensitive and incisive, refusing to gloss over the darker aspects of Schneider's story while maintaining a respectful, empathetic eye.

However, the film is not without its faults. The pace of the second half slows considerably, and the narrative sometimes feels disjointed. The episodic structure, while reflecting Schneider's fragmented mental state, can detract from the overall cohesion of the story. Despite these problems, the film's emotional core remains strong, buoyed by Vartolomei's powerful performance.

Being Maria is also a timely commentary on the treatment of women in the film industry, resonating strongly with the contemporary #MeToo movement. By highlighting Maria Schneider's experiences, Jessica Palud challenges the notion that artistic vision justifies unethical practices. The film defends the importance of consent and the protection of actors' rights, making a compelling case for the need for privacy coordinators and ethical standards on set.

Being Maria is a deeply moving and thought-provoking film that pays tribute to the legacy of Maria Schneider. Jessica Palud's direction, combined with Anamaria Vartolomei's outstanding performance, brings Maria Schneider's tragic story to life with sensitivity and depth. The film not only revisits a dark chapter in the history of cinema, it also provokes critical reflection on the changing standards of consent and ethics in the industry. Being Maria is a powerful testament to Schneider's resilience and a poignant reminder of the need to change the way we create and consume cinema.

Maria
Directed by Jessica Palud
Produced by Marielle Duigou
Written by Jessica Palud, Laurette Polmanss
Based on the work by Vanessa Schneider 
Starring Anamaria Vartolomei, Yvan Attal, Matt Dillon, Marie Gillain, Stanislas Merhar, Céleste Brunnquell, Giuseppe Maggio, Alexis Corso
Music: Benjamin Biolay
Cinematography: Sébastien Buchmann
Editing: Thomas Marchand
Production companies: Orange Studio, Fin Aout Productions, Haut et Court, Les films de Mina, StudioCanal, Moteur s'il vous plait
Distributed by Haut et Court (France)
Release date: June 19, 2024 (France)
Running time: 100 minutes

Seen on May 25, 2024 at Gaumont Opéra Premier, room 1

Mulder's Mark:

Maria retraces moments in the life of actress Maria Schneider, since her adolescence when she seeks to see her biological father, the french actor Daniel Gélin. This film is the result from a free adaptation of Vanessa Schneider's book “Tu t'appelais Maria Schneider” and the director's research. At 19, Jessica Palud was an intern on the Bertolucci movie The Dreamers. It was at this age that Maria was cast by Bertolucci in 1971 for his film Last Tango in Paris with Marlon Brando. This film will bring her glory and break her, due to a sodomy scene, not planned in the script and experienced as rape by the actress on the film set. Bertolucci later recognized it. He wanted to see Maria's real tears, her humiliation. This film questions the limits of art, the influence of the director, the abuse suffered by actors and actresses, the place of women in the cinema of the time.

The film is told solely from Maria Schneider's point of view. Jessica Palud focuses on Maria, played by Anamaria Vartolomei. The actress is in all the sequences, often filmed full frame, frontal. Her interpretation is remarkable. To play Marlon Brando, Jessica Palud called on Matt Dillon. With his deep voice, he credibly plays Brando. Just like Giuseppe Maggio, who plays director Bertolucci. The young actress Céleste Brunnquell plays Noor, Maria's companion, with great sensitivity.

To retrace the shocking scene, Jessica Palud called on an intimacy coordinator and a stuntman because “in this sequence, it is a 90 kg man who violently flips a young 19-year-old woman to the ground.” The scene is filmed from Maria's point of view, in a sobriety, which gives it great intensity. The film is very sober, without effects, in its frames and its editing. The photography of Sébastien Buchmann is inspired by the work of Nan Goldin.
Benjamin Biolay composes the music, where the piano draws Maria's inner path, while a solo violin and cello infuse a romantic touch to evoke the vulnerability but also the resilience of this woman, who had a career after this sulphurous film.

In 2011, at the time of Maria's death, Bertolucci said: “Her death came too soon. Before I could kiss her tenderly, tell her that I felt connected to her like the first day and, at least for once, ask her forgiveness. Maria accused me of stealing her youth and only today I wonder if that wasn’t partly true.”

Maria is a film tribute to actress Maria Schneider (1952-2011), who became the symbol of the violence suffered by women in the world of cinema. A public utility film to understand, without judging.

Maria
Directed by Jessica Palud
Produced by Marielle Duigou
Written by Jessica Palud, Laurette Polmanss
Based on the work by Vanessa Schneider 
Starring Anamaria Vartolomei, Yvan Attal, Matt Dillon, Marie Gillain, Stanislas Merhar, Céleste Brunnquell, Giuseppe Maggio, Alexis Corso
Music: Benjamin Biolay
Cinematography: Sébastien Buchmann
Editing: Thomas Marchand
Production companies: Orange Studio, Fin Aout Productions, Haut et Court, Les films de Mina, StudioCanal, Moteur s'il vous plait
Distributed by Haut et Court (France)
Release date: June 19, 2024 (France)
Running time: 100 minutes

Viewed May 6, 2024 at Club Marbeuf

Sabine's Mark: