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1. He Stands Alone

Jean-Pierre Mocky—director, actor, scriptwriter, producer, editor, cinema owner, and much more—was a one-of-a-kind figure in the history of French cinema. He made his way in the national film industry with stubbornness and boldness, and he made movies unlike anyone else. Good or bad, they were absolutely like him—unique and inimitable. One of his favorite actors, Michel Serrault, once said: “In every Mocky film there are always at least ten minutes which are absolutely sensational. Some unprecedented, unbelievable ideas grab you, surprise you, move you to tears.” 1

In France, Mocky was an institution. He worked with the best and most popular thespians, and surrounded himself with top-notch collaborators such as Raymond Queneau, Eugen Schüfftan, Maurice Jarre, Marguerite Renoir, among others. After his death, Le Monde dedicated a whole page to him, with a lengthy piece (which suitably labeled him a “cineaste fantasque,” whimsical filmmaker) penned by one of the nation’s most prominent critics, Jean-François Rauger. Yet, to the foreign public, Mocky is a v

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Henri Betti

French composer and pianist (1917–2005)

Henri Betti, born Ange Betti (24 July 1917 – 7 July 2005), was a French composer and a pianist.^[1]

Pianist and composer of Maurice Chevalier from 1940 to 1945, Henri Betti is best known for composing the music of the songs C'est si bon (lyrics by André Hornez), What Can I Do ? (lyrics by Édith Piaf) and The Windmill Song (lyrics by Jacques Plante) that were performed by Yves Montand.

Biography

Henri Betti was born at 1 rue Barillerie in the district of Vieux-Nice in a modest family : his father was a house painter and his mother was a fishmonger. His paternal family originates from the region of Emilia-Romagna in Italy : his grandfather was born in Parma and he immigrated to Nice with his wife and children in 1893.

In 1935, he entered at the Conservatoire de Paris which is then directed by Henri Rabaud where he studied music in the same class as Maurice Baquet, Paul Bonneau, Henri Dutilleux and Louiguy. He is the student of Lazare Lévy for piano class and Raymond Pech for har

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Introduction

1Upon her death at 79 in 2017, Mireille Darc’s biographer Richard Melloul described her on French television (C à vous, 28/08/2017) as a “tour de force in the 1960s – the only woman in a group of macho men”1, and fellow guest Bernard Montiel added that “she was un p’tit mec herself (a little guy)”; although both argued she always maintained her glamour and femininity. Darc’s ability to combine comedy with physical beauty made her an actress adored by the French public and celebrated by fans, critics, and the film industry. Unusual for most actresses, Darc injected glamourous modernity – performing a version of the “liberated woman” – into sexist comedies2. Despite a substantial career as a film and television actress, documentary director, screenwriter, producer, and occasional singer, Mireille Darc has been neglected in scholarship. This article aims to mitigate this gap by unpacking the intriguing contrasts in Darc’s star persona and highlighting the implications of her image for wider star studies.

2Darc’s absence in scholarship is not entirely surprising