Jean Seberg

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Seberg made her film debut in the title role of Joan of Arc in Saint Joan (1957), based on the George Bernard Shaw play, having been chosen from among 18,000 hopefuls by director Otto Preminger in a $150,000 talent search. Her name was entered by a neighbor.

When she was cast on October 21, 1956, Seberg's only acting experience had been a single season of summer stock performances. The film generated a great deal of publicity, but Seberg commented that she was "embarrassed by all the attention." Despite great hype, called in the press a "Pygmalion experiment", both the film and Seberg received poor reviews. On the failure, she later told the press:

She also recounted:

Preminger promised her a second chance, and he cast Seberg in his next film, Bonjour Tristesse (1958), which was filmed in France. Preminger told the press: "It's quite true that, if I had chosen Audrey Hepburn instead of Jean Seberg, it would have been less of a risk, but I prefer to take the risk. [..] I have faith in her. Sure, she still has things to learn about acting, but so did Kim Novak when she started." Seberg again received negative reviews and the film nearly ended her career.

Seberg renegotiated her contract with Preminger and signed a long-term contract with Columbia Pictures. Preminger had an option to use her on another film, but they never again worked together. Her first Columbia film was the successful comedy The Mouse That Roared (1959), starring Peter Sellers.

Mylène Demongeot recalled in a 2015 filmed interview in Paris: "Otto had high hopes in Jean and Saint Joan's failure took a toll on him also because there was a 5-films-contract from what I recall. She was extremely sad too about it and when we all arrived on the set of Bonjour Tristesse she carried on her shoulders the weight of guilt, she was scared. And with that type of man, of character [Preminger] she shouldn't have shown fear, that's why I got along with him. I was a supporting role, I didn't have the weight of the expected success of the film on my shoulders. I had no apprehension regarding him. When he screamed, I would turn and tell him [sarcastically] "you know, you shouldn't screech like that, you gonna get yourself a stroke". Such words would defuse him. On the contrary, Jean was scared of him so he would take advantage and eventually became very mean to her."

During the filming of Bonjour Tristesse, Seberg met François Moreuil, the man who was to become her first husband, and she then based herself in France, finally achieving success as the free-love heroine of French New Wave films.

She appeared as the female lead in Jean-Luc Godard's Breathless (French title: À bout de souffle, 1960) as Patricia, co-starring with Jean-Paul Belmondo. The film became an international success and critics praised Seberg's performance; film critic and director François Truffaut even hailed her as "the best actress in Europe." Despite her achievements, Seberg did not identify with her characters or the film plots, saying that she was "making films in France about people [I'm] not really interested in." Back in the U.S., she made another film for Columbia, the crime drama Let No Man Write My Epitaph (1960).

In France, after appearing in Time Out for Love (Les grandes personnes, 1961), Seberg took the lead role in Moreuil's directorial debut, Love Play (La Recréation, also 1961). By that time, Seberg had become estranged from Moreuil, and she recollected that production was "pure hell" and that he "would scream at [her]." She followed with Five Day Lover (L'amant de cinq jours, 1962), Congo vivo (1962) and In the French Style (1963), a French-American film featuring Stanley Baker released through Columbia. She also appeared in the anthology film The World's Most Beautiful Swindlers (Les plus belles escroqueries du monde, 1963) and Backfire (Échappement libre, 1964), which reunited her with Jean-Paul Belmondo.

Seberg starred with Warren Beatty in the American film Lilith (1964) for Columbia, which prompted the critics to acknowledge Seberg as a serious actress. She returned to France to make romantic crime drama Diamonds Are Brittle (Un milliard dans un billard, 1965).

In the late 1960s, Seberg was increasingly based in Hollywood. Moment to Moment (1965) was mostly filmed in Los Angeles; only a small part of the film was shot on the French Cote d'Azur. In New York City, she acted in the comedy A Fine Madness (1966) with Sean Connery and under the direction of Irvin Kershner.

In 1966 and 1967, Seberg played the leading roles in two French films directed by Claude Chabrol and co-starring Maurice Ronet. In February and March 1966, she starred in Line of Demarcation, filmed around Dole, Jura, and in May and June 1967, she played the lead role in the French-Italian Eurospy film The Road to Corinth, shot in Greece.

After making the crime drama Pendulum with George Peppard (1969), Seberg appeared in her only musical film, Paint Your Wagon (also 1969), based on Lerner and Loewe's stage musical and co-starring Lee Marvin and Clint Eastwood. Her singing voice was dubbed by Anita Gordon. The film was a critical and box office disaster. Seberg also starred in the ensemble disaster film Airport (1970), which drew mixed reviews but was a huge success at the box office.

Seberg acted in the western Macho Callahan (1970) and the violent crime drama Kill! Kill! Kill! Kill! (1971), but both films were failures. In 1972, she appeared in Gang War in Naples, which was successful in Europe but not in the United States.

Seberg was François Truffaut's first choice for the central role of Julie in Day for Night (La Nuit américaine, 1973), but after several fruitless attempts to contact her, he gave up and cast British actress Jacqueline Bisset instead.

Seberg's last American film appearance was in the TV movie Mousey (1974). She remained active during the 1970s in European films, appearing in Bianchi cavalli d'Agosto (White Horses of Summer) (1975), Le Grand Délire (The Big Delirium, 1975, with husband Dennis Berry) and Die Wildente (1976, based on Ibsen's The Wild Duck).

At the time of Seberg's death, she was working on the French film Operation Leopard (La Légion saute sur Kolwezi, 1980), which was based upon the book by Pierre Sergent. She had filmed scenes in French Guiana and returned to Paris for additional work in September. After her death, the scenes were reshot with actress Mimsy Farmer.

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