The actress and writer Molly Ringwald recalls working with French cinema’s enfant terrible. Illustration by Isabel Seliger In 1986, Molly Ringwald had just finished acting in the trilogy of John Hughes films—“Sixteen Candles,” “The Breakfast Club,” and “Pretty in Pink”—that had made her an iconic representation of the American teen-age girl. That summer, she received a call from her agent, who said that the “esoteric” Franco-Swiss director Jean-Luc Godard wanted to cast Ringwald as Cordelia in his upcoming adaptation of “King Lear.” Ringwald was a burgeoning Francophile, and, as she recalls in a delightful Personal History for this week’s magazine, she was also “itching for something less mainstream.” She agreed to meet with Godard, and was soon down the rabbit hole, filming in Switzerland with the likes of Burgess Meredith, the opera director Peter Sellars, and a young Julie Delpy. Ringwald’s essay is full of wonderful passages, giving us a portrait of the antic, melancholic genius of Godard, who died this fall, at the age of ninety-one. “Looking back on it now,” Ringwald writes, “I think he was actually a bit shy, trapped in his mind. Perhaps the only way he could make sense of anything was to film and edit it.” —Michael Agger, culture editor |
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