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Belmondo was more than an actor. Although he was also a great actor – in the oldest sense of the word: he changed masks, tried on different characters, managed and learned how to be different, created an invincible image and laughed at himself. Was able However, another thing is still more important: how the magic of the screen made a simple man heavenly, and an ugly, though expressive man (for no reason was one of his bright theater characters Sereno) !) – The embodiment of charisma and sexuality. . He partially replicated in his first great role, partly Humphrey Bogart-Jean-Luc Goddard’s first masterpiece Breathless (1959), the little bully and lost gangster Michelle Poyakard. But years passed, and for post-war European cinema, Belmondo really became what Bogart was to Hollywood’s “golden age”: a living embodiment of masculinity, in any of its (including disgusting) expressions. Hero of all time and anti-hero.