ABSTRACT

Michèle Morgan starred twice alongside Bourvil, in 1958 in Le Miroir à deux faces (André Cayatte) and in 1960 in Fortunat (Alex Joffé). These films present the pairing of Morgan and Bourvil as an anomaly, casting them as a mismatched couple who could only have come together under exceptional circumstances. The contrast between the two characters, and between the two stars, provides the main narrative thrust and selling point of each film. This article analyses the contrast, especially in terms of class, at the centre of the pairing of Morgan and Bourvil. It also explores the roles assigned to male and female characters in each film as well as the sperformances of their main actors. The main argument is that this contrast acted in favour of Bourvil, a rising star whose encounter with Morgan allowed him to enrich his portrayal of an ‘imperfect masculinity’. On the other hand, Morgan was stuck in yet another performance as ‘Morgan the star’ in Le Miroir à deux faces, and, as she approached 40, as a grande dame and mother in Fortunat. Finally, a comparison between Le Miroir à deux faces and its remake The Mirror Has Two Faces (Barbra Streisand, 1996) highlights the limited latitude available to Morgan in Cayatte’s film, in terms of both her acting and the role she played.

摘要

米歇尔·摩根与布尔维尔一起出演了两次，分别是 1958 年的Le Miroir à deux faces (André Cayatte) 和 1960 年的Fortunat（亚历克斯·乔菲）。这些电影将摩根和布尔维尔的配对呈现为一种反常现象，将他们塑造成一对只有在特殊情况下才能走到一起的不匹配的夫妇。两个角色之间以及两位明星之间的对比，提供了每部电影的主要叙事主旨和卖点。本文分析了摩根和布尔维尔配对中心的对比，特别是在阶级方面。它还探讨了每部电影中分配给男性和女性角色的角色以及主要演员的表演。主要论点是这种对比有利于布尔维尔，这位冉冉升起的新星与摩根的相遇让他丰富了他对“不完美的男子气概”的描绘。另一方面，摩根在另一场演出中被困在“明星摩根”中。Le Miroir à deux 面孔，当她快 40 岁时，她是 Fortunat的贵妇和母亲。最后，比较Le Miroir à deux faces及其翻拍版《镜子有两张脸》 （Barbra Streisand，1996 年）突出了摩根在 Cayatte 的电影中的有限自由度，无论是在她的表演还是她扮演的角色方面。