In Robert Guédiguian’s The
Last Mitterrand (2005), a lightly fictionalised riff on actual events, Bouquet
played the former French president, coaxed by a journalist into addressing his Vichy
past. Bouquet’s rascally turn elevated a scholarly, slightly dry endeavour: Le
Monde noted the way the actor “slipped into [Mitterrand’s] coat, put on his
hat and, with astonishing charisma, composed a mischievous portrait… showing
how a sacred monster could consume the soul of another.”
That Bouquet was
unrecognisable from the octogenarian who returned to our screens, bearded and
fierce of gaze, as the subject of Gilles Bourdos’ Renoir (2012), testament
to the actor’s ability to disappear fully within the contours of a role. Nothing
unduly dramatic happens in this absorbing, visually rich study of
Pierre-Auguste Renoir in his Riviera dotage; Bourdos centred Bouquet’s finely-honed
ability to hold an audience’s attention through craft alone.
Both in and out of the
limelight, he was prone to self-effacement. He once described himself as “dull,
banal, a little flat”, adding “the roles flesh me out.” As an aspiring thesp, he
confessed to feeling too short (at 5’7”) for dramatic roles, and too serious-minded
by nature to play comedy effectively.
In her memoir Le roman
de ma vie, the actress Bernadette Lafont detailed how she once saw Bouquet
explode at a script supervisor who’d claimed actors were overpaid, insisting
“you have no idea what it means to carry the burden of a character who invades
your life and haunts you even at night”. Bouquet later apologised, blaming the outburst
on too much Burgundy. Nevertheless, he declared himself “too solitary for la
vie de troupe”, maintaining that acting is “a very lonely job, just like painting.
One does it in public, but the essence of it is secret”.
He was born Michel François
Pierre Bouquet on November 6, 1925 in the 14th arrondissement of
Paris, the youngest of four sons to winemaker Georges Bouquet and his milliner
wife Marie. A WW1 veteran, Bouquet Sr. was a distant figure, quietly haunted by
his wartime experiences. At seven, young Michel was dispatched to a Catholic
boarding school for what he called “seven years of darkness and loneliness”.
He hoped to study
medicine, but left school at 15 to support the family after Georges was held
prisoner in Pomerania. During the Occupation, he worked in a bakery and a bank;
following the Armistice, he juggled jobs as a warehouseman, dental technician
and delivery driver.
Spurred by Marie’s love
of the theatre, Michel signed up for acting classes, eventually studying at
CNSAD, the National Conservatory of Dramatic Arts. He made his stage debut
within six months, impressing Albert Camus, who invited the 19-year-old to play
Scipio in his 1945 production of Caligula.
Small film roles followed,
as an assassin in Criminal Brigade (1947) and a TB patient in the Jean
Anouilh-scripted Monsieur Vincent (1947), an Oscar winner for Best
Foreign Film. Yet the stage would be Bouquet’s primary home for the first
twenty years of his career: excelling in Molière – despite those concerns about
his comic chops – he also appeared in new work by Anouilh, Ionesco and Pinter.
An exceptional orator, he
was hired to narrate Alain Resnais’ 32-minute Holocaust memorial Night and
Fog (1955), from a script by Mauthausen survivor Jean Cayrol. But another
decade passed before Chabrol thought to cast him, first in the undistinguished An
Orchid for the Tiger (1965) and The Road to Corinth (1967). The
Unfaithful Wife was the pair’s standout collaboration, in large part due to
Bouquet’s psychologically shaded turn as a cuckolded husband-turned-murderer.
Thereafter, he became a
familiar arthouse face, often in supporting roles: as the detective in
Truffaut’s Mississippi Mermaid (1969), a Mob lawyer in Belmondo-Delon
actioner Borsalino (1970), one of many oddbods in the Belgian curio Malpertuis
(1971). On TV, he was Javert in Robert Hossain’s acclaimed Les Misérables
(1982), Mozart’s father in Mozart (1982) and Scrooge in A Christmas
Carol (1984), for which he won the French equivalent of an Emmy.
The awards kept coming.
He won a European Film Award for his role as the despairing older Toto in Toto
the Hero (1991) and his first Molière award – French theatre’s highest accolade
– at 73 for playing a rowdy pensioner in Bertrand Blier’s Les Côtelettes
(1998). A second followed in 2005, for playing King Bérenger – a role he would
play 800 times in total – in Ionesco’s Exit the King.
By the millennium, he was
more in demand – and more revered – than ever. He won his first César – the
French Oscar – as the father in Anne Fontaine’s melodrama How I Killed My
Father (2001); he earned a second for playing Mitterrand, and was nominated
for Renoir. He received the Legion d’Honneur in 2007, and the Grand-Croix
in 2018.
A perfectionist, he
stopped directing after his revival of Shaw’s Heartbreak House
(co-directed with his first wife Ariane Borg) flopped in the 1950s. But he
remained an influential teacher, penning multiple texts (and a memoir, Mémoire
d’acteur, in 2001). His students included Fabrice Luchini, Anne Brochet and
Maria de Medeiros.
He initially retired from
the stage in 2011, but was drawn back by several choice roles, claiming at one
point he was “never going to stop”. As late as 2018, it was announced that
Bouquet would be appearing as Albert Einstein in Le cas Edouard Einstein,
about the relationship between the scientist and his schizophrenic son. Yet
tired by the preparations, he withdrew from the cast and made his retirement
official, insisting “I had done everything I could”.
He is survived by his
second wife, the actress Juliette Carré, who played Queen Marguerite to his King
Bérenger in Exit the King.
Michel Bouquet, born November 6, 1925, died April 13, 2022.
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