Nathalie Baye, the art of playing everything

She died on April 18, at the age of 77, following a neurodegenerative disease. With Nathalie Baye, much more than an immense actress disappears: a familiar, almost intimate presence, which has accompanied the French for more than half a century.

Born on July 6, 1948 in Mainneville (Eure), from a modest background, she first trained in dance. A founding discipline, which will nourish his entire career with a keen sense of the body, rhythm and restraint. In 1973, she was 25 years old when François Truffaut, founding figure of the New Wave, revealed her in American Night. French cinema then discovered an extraordinary actress, capable of expressing emotion without demonstration.

The beginning of an exceptional trajectory, lasting more than half a century, which saw her accumulate around a hundred roles, four Césars and an acting prize at the Venice Film Festival. From auteur cinema to popular comedy, from Claude Sautet to Steven Spielberg, via Bertrand Tavernier or Maurice Pialat, Nathalie Baye crosses all universes. She makes the obvious: that of an actress capable of playing everything without ever repeating herself.

Four Caesars

His track record was written very early. In 1981, she received the César for best supporting actress for Save whoever can (life) by Jean-Luc Godard. Two years later, Libra by Bob Swaim earned her her first César for best actress. It has a lasting impact on people’s minds The Return of Martin Guerre by Daniel Vigne (1982), Every other weekend by Nicole Garcia (1990), Venus Beauty (Institute) by Tonie Marshall (1999) or even Absolutely fabulous by Gabriel Aghion (2001).

The 2000s confirmed his ability to play darker, harsher roles. In 2005, she impressed as Commander Caroline Vaudieu in The Little Lieutenant by Xavier Beauvois, a role for which she won the César for best actress. In 2016, under the direction of Canadian director Xavier Dolan, she composed a moving mother in Just the end of the world.

Also on the stage, Nathalie Baye stands out. From 1978, she played The Three Sisters by Anton Chekhov, directed by Lucian Pintilie, at the Théâtre de la Ville. In 1993, she triumphed in False Confidences by Marivaux, staged by Christian Rist at the Théâtre national de Chaillot, before a tour. Even when she slips into her own role, in the series Ten percentshe continues to surprise, sharing the screen with her daughter Laura Smet, also an actress.

His personal life, finally, was scrutinized. Her relationship with Johnny Hallyday, from whom a daughter was born, marked the 1980s. In 1985, she lent her voice to the introductory text of Something from Tennesseeone of the singer’s most emblematic titles, a discreet testimony to an artistic as well as personal connection.

His funeral Friday in Saint-Sulpice

When his death was announced, tributes poured in. Emmanuel Macron, President of the Republic, salutes “an actress with whom we loved, dreamed, grew up”. Gilles Jacob, former president of the Cannes Festival, speaks of “an actress loved by all”. Actor and director Richard Berry confides his emotion: “Nathalie, you take our laughter with you.” Dominique Besnehard, producer and former agent of the actress, sums up her place apart: “Women adored her and men respected her. » Pierre Arditi remembers his infectious laugh, while Christian Clavier recalls “an immense talent” and a “dream partner”. Television channels announce that they are adapting their programs to pay tribute to him. From this Monday, April 20, France 3 is broadcasting The Little Lieutenant (9:10 p.m.), followed by other emblematic films from his career.

The funeral of Nathalie Baye will take place on Friday April 24 at 10 a.m., at the Saint-Sulpice church in Paris, before a burial “in strict privacy,” said her family. She leaves an impressive filmography, but above all a unique place in the collective memory. Rarely has an actress given the French this precious feeling: that of having always had her at their side.