Jean Seberg -- Breathless, by Garry McGee
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Jean Seberg -- Breathless, by Garry McGee
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She was from a large town in Iowa and became the darling of Paris. She alternated between small European films and big Hollywood movies, on the way helping Jean-Luc Godard to shape contemporary cinema. She moved between the worlds of show business and politics, from private and state dinners with leaders to clandestine activities supporting groups and individuals on both sides of the Atlantic. She was a unique person ahead of her time. Breathless tells the story of the woman who, after a disastrous film debut in Saint Joan, became both acclaimed international actress (Lilith, Dead of Summer) and popular star (Paint Your Wagon, Airport). It also tells of the FBI's campaign to "neutralize" Seberg, and the still unsolved mystery of her death in 1979 at the age of 40. Featuring exclusive interviews with family, friends and acquaintances, Jean Seberg - Breathless includes personal letters and obscure quotes from the subject, and more than sixty rare photographs. Iowa-born Garry McGee is a documentary filmmaker and author. Jean Seberg - Breathless is his fourth book. His book with Jean Russell Larson, Neutralized: the FBI versus Jean Seberg, is also published by BearManor Media.
Jean Seberg -- Breathless, by Garry McGee- Amazon Sales Rank: #2155148 in Books
- Published on: 2015-05-02
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .74" w x 6.00" l, 1.07 pounds
- Binding: Paperback
- 328 pages
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Most helpful customer reviews
16 of 18 people found the following review helpful. Beauty and Sadness By Peter Baklava I read this book back-to-back with "Played Out: The Jean Seberg Story" by David Richards. "Played Out" has an unfortunate title, but in all other respects, it is the superior biography. Published in 1981, just two years after Seberg's suicide, it contains virtually all the information included in "Jean Seberg: Breathless" except for some incidental but charming additions such as Jean's correspondences with her maternal grandmother ("Granny Grunt").Garry McGhee's "Jean Seberg: Breathless" obviously draws quite heavily from the earlier biography, but it sanitizes Jean's life. Jean's disintegration after the end of her marriage to Romain Gary is quite painful to read about, but in order to get a complete understanding of her life, you must be exposed to the facts of her downward spiral.It was almost as if Jean Seberg had two different personae. Dubbed "the most unlikely of movie stars" by one observer, Jean early in her career was a remarkably buoyant, photogenic and fresh personality. French director Francois Truffaut was captivated by Seberg's performance in "Bonjour Tristesse" (1958). Then came her star turn in Jean-Luc Godard's "Breathless", which cemented a place for her in film history. But after that, there is only Robert Rossen's "Lilith" (1963) to watch in order to gauge Jean Seberg's impact and lost potential. Other films in which she sparkled ("Five Day Lover", "Time Out for Love", and "Dead of Summer") are mostly European efforts and are not in circulation.Jean Seberg was often compared to Jane Fonda. Roughly the same age, they both became involved in French New Wave films, and then strangely they both adopted leftist causes such as the Black Panther movement. But whereas Fonda was well-connected to Hollywood, and toughened as an actress by stage experience, Seberg was thrown into the movies by fortune, and before she was really ready for it.Seberg was the product of an Iowa childhood which granted her a naive idealism, but also withheld many experiences which would have given her confidence in herself. Though Jean had an innate intelligence, she also was extremely vulnerable and insecure throughout her life. She was plagued with toxic relationships and poor choices.At the time when Jane Fonda's career was being resurrected by "They Shoot Horses, Don't They", Seberg was struggling with her career, finding no better projects than "Airport", "Paint Your Wagon", and "Macho Callahan". She disliked both Los Angeles and New York, and she was afraid of stage work. Perhaps to get the excitement and commitment that she couldn't find in films, she became involved with the Black Panther movement. From there on, her life was marked by paranoia, dissolution and madness.Nevertheless, she is survived by the wonder of her film presence, and the feeling of "if only..." If only she had worked with such admirers as Truffaut and Polanski, or other masters like Hitchcock, who might have understood how to use her strengths. She was disarmingly natural in both her films and her interviews. One cannot watch her without believing that "here was a remarkable person".She was recently listed as "one of the twenty most beautiful women in film" by Esquire magazine. Hers is an amazing and also agonizingly tragic story.
7 of 7 people found the following review helpful. Jean Seberg IS breathless By Kirk H Although I felt this book fell a bit short on creating a satisfying picture of Seberg's personality, it did give an excellent overview of her life and travails. She is someone who rose to fame at the time of a great turbulence in America (the 1960s), and it makes this bio historically fascinating. With the exception of Godard's "Breathless," Seberg's other excellent performances such as "Bonjour Tristesse" and "Lilith" have not been given their due. One thing this book lacks is a more contemporary view of her performances, given the perspective of time. "Saint Joan" is given short shrift historically and by comments Seberg made about her own performance. Today, her Joan of Arc comes across as a document of a young actor learning how to give a strong, emotional and intimate performance, and then by the end of the film, giving one. She learned along the way and in that regard it's a fascinating film to watch. Though I enjoyed this book very much, and would heartily recommend it to anyone at all interested in Jean Seberg, I felt it could have gone deeper into her psyche. Barry Paris' bio of Louise Brooks is the standard on which I base bios of famous actors. Few bios come close the depth of that book. There's a bit of that in McGee's Breathless, but I came away feeling a bit like the surface was skimmed rather than the depths plumbed. Nevertheless, as an overview of Seberg's films and life, this is very much worth reading.
17 of 22 people found the following review helpful. Jean Seberg: New Testament By Scott Coblio Before Mia, Twiggy & Edie, there was Jean Seberg, the original Pixie. Because her successors were, well, more successful, Jean often gets overlooked when it comes time to dole out the honors to the women who influenced the style, shape & complexion of 60's femininity. Her initial screen persona was as a kind of child-woman, pretty but not overtly sexualized. Throughout her career, her image morphed back and forth through a kind of Tippi Hedren look to the boyish, close-cropped style she had in "Breathless", the film for which she is most known, and which showcased her unique appeal most effectively.Shirley Maclaine, Mia Farrow and Audrey Hepburn were in a similar vein with their child-women personas. These actresses all were forging a new kind of feminine identity, with a naturalness that hadn't been seen on the screen before. Of them all, I find Seberg the most interesting screen presence, if not necessarily the best actress. Is it only because she came to a tragic end that she is more compelling and enigmatic on the screen?Certainly her performances in "Breathless", "Lillith" and even "Bon Jour Tristesse" are little marvels. Acting-wise, she reminds me of Louise Brooks, in as much as her acting doesn't announce itself boldly. It's humble, poetic, watercolory. She is not so in love with her technique that her subtle effects are marred by the bold, show-offy strokes of her "method". She is always beautiful, but in her best work, she is magical too.Garry McGee has done a commendable job researching and writing Jean's story. At 311 pages, it is satisfyingly dense, and much more than a perfunctory synopsis of her life and infamous death from suicide in 1979. In fact, it's so good you find yourself wishing a bigger publisher had picked it up so the illustrations could be top notch and the format larger.But the content more than compensates for any graphic deficits. In fact, this book is really the quintessential tome on Seberg now, every bit as good as its predecessor on the subject, "Played Out- The Jean Seberg Story" by David Richard. If you're interested in Seberg, bet both. This one makes an excellent companion piece as it contains additional insights and illuminations, including rare interviews with Jean's sister Mary Ann, unique to this book!. "Breathless" balances sensitivity with investigative journalism and the result is sure to please both scholars AND fans of the still-resonant star.
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