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For its subject, exploited on a film set and tarred by notoriety, ‘Being Maria’ was never easy

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Last December, when the French Cinémathèque intended to screen Bernardo Bertolucci’s 1972 film “Last Tango in Paris” as part of a Marlon Brando tribute, they ultimately decided to call off the screening due to strong objections from women’s rights activists.

The infamous rape scene in the film, although simulated, was filmed without the knowledge or consent of then 19-year-old actress Maria Schneider. This scene has been a significant point of discussion in the #MeToo movement, highlighting abusive practices prevalent in an industry dominated by men. Years after the film’s production, director Bertolucci admitted that he intentionally withheld the details of the scene from Schneider to ensure a genuine reaction, not one rehearsed. What was overlooked was the long-term impact of such coercion: Maria Schneider suffered trauma, and her subsequent openness about her experience often went unheard or ignored.

The French film “Being Maria,” directed by and co-written by Jessica Palud, highlights the journey of Anamaria Vartolomei’s character Schneider from age 15 to her 30s-something. Starting as an untested hopeful, she evolves into a jaded survivor. The film is based on a biographical memoir published by Schneider’s cousin seven years after the actor’s death in 2011. It offers a sensitive portrayal of Schneider’s experiences, challenging our perception of a feminist biopic as it explores her life leading up to, and dealing with, being manipulated and assaulted on camera for artistic purposes.

In this film, director Palud skillfully navigates a delicate act, delving into the psychological impact of an event without making it the defining characteristic of the protagonist. However, the film’s rougher aspects are filled with enough emotional depth that “Being Maria” successfully acknowledges that this incident is just one piece of a complex, multi-layered life narrative.

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16-year-old Maria’s passion for films deepens an unexpected bond with her remote biological father, renowned actor Daniel Gélin (portrayed by Yvan Attal). However, her skeptical and critical mother (Marie Gillain) forces Maria to leave home at 16. Later, at 19, Maria has already worked on a few films when she encounters acclaimed director Bertolucci (Giuseppe Maggio), who is planning a provocative drama featuring an anonymous sexual encounter between a young Parisian woman and an older American man, to be played by Marlon Brando. Noting her acting background, he asks, “Aren’t you an actress?”, delivering the line with such irresistible allure that it hints at his indifference towards the profession – instead, he is drawn to her emotional vulnerability.

On set, Maria develops a comfort with the playful vulnerability displayed by her renowned co-star, portrayed exceptionally well by Matt Dillon. The “Tango” scene, ranging from initial shy giggles to stirred emotions of tears and fury, is the longest sequence in this film and serves as an unusual yet gripping example of a tense yet casual environment, demonstrating how creativity, friendship, and power can become distorted without any restraints. Palud, who once interned for Bertolucci and acquired a marked-up version of the “Tango” script, recreates the filming of Schneider’s bold mistreatment but uses a reverse-shot perspective, capturing the uneasy tranquility of the crew’s expressions.

Vartolomei’s heartrending portrayal, filled with quiet pain and vulnerability, showcases an embarrassment meant for public viewing, an event that brought notoriety but seldom emotional comfort. She appears preoccupied, downcast, fragile, fighting for professional respect amidst producers trying to take advantage, yet struggling in her nomadic personal life. As Maria’s heroin addiction worsens, it jeopardizes her relationship with Noor (Céleste Brunnquell), who offers caring support after the events that unfolded.

However, the period following “Tango” in the film is its most uneven, tending towards hackneyed portrayals of disintegration (extravagant nightclub dancing and drug-induced breakdowns) rather than depicting the intricate or enlightening aspects of Schneider’s specific predicament: his quest to carve out a unique path as a damaged celebrity, burdened with a reputation not self-chosen.

In “Being Maria,” Palud skillfully focuses on Vartolomei’s inner journey using a straightforward filming approach, which helps the movie navigate through its stormy themes. Contrary to Bertolucci, who deceived himself during the filming of that pivotal moment with Schneider, Palud serves as an unacknowledged intimacy coordinator by presenting a perspective that had long been overlooked.

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2025-03-29 05:01

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