© AP Photo / Laurent Cipriani
A nationwide farewell to Jean-Paul Belmondo, which will take place today in Paris, the Elysee Palace immediately offered to arrange in the House of Invalids – this is the highest honor that is usually awarded to the military who performed a feat on the battlefield.
Making such a decision, Macron and his entourage, no doubt, were guided exclusively by pre-election interests. To be in a duet with someone whom the French adore is a way to draw attention to oneself, and a reason for a staff photographer, who follows the French president’s shadow, to take some sentimental photographs “with Belmondo in the background.”
Macron’s pompous tweet, in which the 88-year-old actor was named, among other things, a “national treasure” and where the general desire to be “like Belmondo” was mentioned, could only cause the actor himself to grin. The “national treasure” at the time of entering the Paris Conservatory at the faculty of theatrical art received the nickname Clown, teachers openly called him a “freak” and foreshadowed failure on the chosen path.
“He will not be able to go on stage in a pair with a woman, such an appearance will only repel, a duet with any actress will not inspire confidence in the audience.” Experienced Parisian teachers misjudged 75 films, countless theatrical performances, and planetary success.
Belmondo himself, who went to success very hard and difficult (ten years of work in the theater and filming episodes), said that he dreamed, if and when he became famous, to be “like Humphrey Bogart.”
After the release of Jean-Luc Godard’s In Last Breath and the next half century, all French actors, without exception, dreamed of being “like Belmondo.”
As a result, Belmondo from a proper name turned into a common noun, becoming “belmondo”.
Everything is here – and the genre (the purity of which, as you know, is a guarantee of good luck), and talent, and charisma, and the brightness of the personality, and the ability to remain oneself, and loyalty to ideals, and, as a rule, a successful denouement for the hero. And also – laughter, irony and a little trickery.
Everything that the audience adores, and everything that caused hiccups in the creative Parisian salon bohemia, forcing its representatives (their names usually did not tell anyone anything) to attribute Belmondo’s work to street art, a booth and a circus.
“I dreamed in my childhood to be just a clown. To make people laugh, making them forget about the difficulties, is perhaps the most dear part of the profession of an actor for me,” – wrote Belmondo himself in his memoirs “A Thousand Lives is Better than One”.
He was ignored by the regulars of the Cannes festival, the organizers of which presented him with the honorary Palme d’Or only at the very end of his career. He was looked down upon by national film academics, having awarded the Cesar prize only once, while other actors, whom they do not remember and do not know and whose names will not say anything even to the most stubborn cinephiles, received this award in almost bulk quantities.
A guy with a broken boxing nose, with an inimitable waddling gait, a trained body and an invincible spirit of a sly and a rake, meanwhile, took, as if playing, the blows of fate that fell on his characters.
He belonged to the old school, when an army of assistants, agents and PR people did not stand behind the actor.
He did everything himself: the roles were learned by heart.
“Bebel was always ready to work, he knew all the lines, he could act in an infinite number of takes, always finding new colors and intonations, and he preferred tricks, if the script required it, to do it himself. He worked like an ox, but never tired And no one saw him in a bad mood, “said his close friend Alain Delon at one time.
In the Soviet Union, almost all films with the participation of Belmondo were at the box office. The idol of those who were teenagers in the 1970s and 80s. These two last Soviet generations almost fought their way (there were simply no tickets, there was a full house in cinemas) for “The Man from Rio”, “Magnificent”, “Who’s Who”, “Cartusha” and, of course, for “Professional” …
Belmondo was the embodiment of France – yes, invented, yes, illusory, but the embodiment of a country where the victory of good over evil is possible, where love triumphed, and the winner in a fight with scoundrels was rewarded with a beauty and a goblet full of wine.
There was no such France, in all fairness, in France itself, but nevertheless, in that country and in that era, the existence of the heroes of Belmondo was possible.
They are always politically incorrect, always “cisgender”, they willingly “abuse” others, and women too, talking to the latter in a condescending and imperative tone. They with white skin – today it is also a sin – pronounce (and are not ashamed of it) the word “negro”, they willingly incline, using their official position, female colleagues to adultery, and so on.
All 75 films, in which Jean-Paul Belmondo starred, today could not even be released – the very idea of filming the same “Professional” today will not occur to any French (or any European) producer.
Because the story about a white strong and courageous character will not pass the censorship of those who diligently wash out such concepts as “hatred” and “love”, “devotion” and “betrayal”, “honor” and “dishonor” from the general consciousness.
Today, the main roles are assigned, and the main plots are written by ideological eunuchs – in order to replace traditional (and present) values with the rules of the “new ethics”. And in them, these rules, there is no masculinity, but there is gender fluidity, there is no love, but there is “in relationships”, there is no friendship, but there is “communication”, there is no hatred – and there is “lack of tolerance.”
Belmondo himself knew about it. Appearing several years ago at one of the ceremonies, where he was greeted with a standing ovation, and the audience stood in admiration before the article of the actor, who, albeit leaning on a stick, was as magnificent as at the zenith of fame, he said: “Life taught me not give up, always go forward and believe in yourself. I wish you one thing – the courage to look fate in the eye, without looking away. “
It is clear that the covenant was not heard. But it is much more important that these words were spoken.
They (and not the flowery epitaphs from the authorities that will be handed out today at the memorial service) will remain in our memory.
Goodbye artist and thank you for everything!
Subscribe to us