Seberg with long hair, later in her career ( hymning domestic bliss in Paint Your Wagon, perhaps), just isn't the same. She first cut her hair when Preminger chose her from a nationwide open audition to star in Saint Joan – and it's a happy accident of cinema and fashion that the warrior-saint look suited her so well. Seberg's big break depended on her going for the chop, too. Jean Seberg alongside David Niven in Bonjour Tristesse. In that film, her sweet face contrasted with that raw, chopped 'do to great effect: the vision of a "good girl" gone hipster, charming and double-crossing her wannabe gangster boyfriend. It is as Patricia that Seberg's insouciant image made its way on to posters tacked to generations of film students' walls. In a chic cocktail dress or a swimsuit and a man's denim shirt, Seberg is radiantly beautiful, and with that signature pixie crop, unforgettably, arrestingly cool too.Ī couple of years later, Seberg would take her best-known role, as the très moderne American girl Patricia in Jean-Luc Godard's À bout de souffle. But while the film's ostensible love triangle of Deborah Kerr, David Niven and Mylène Demongeot pose prettily on the Riviera in costumes by Givenchy and Hermès, the star of this show is 20-year-old Jean Seberg. The Côte d'Azur glitters in pristine, vibrant Technicolor Paris smoulders in smoky monochrome. O tto Preminger's lush CinemaScope melodrama Bonjour Tristesse, rereleased this week, is a showcase for gorgeousness.
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