Chantal Goya

  1. France Anglade, Le plus vieux métier du monde (US: The Oldest Profession), France-West Germany-Italy, 1966.     “I’m not an actor,” said the French singer of songs for kiddies. . She proved it in 1965 as one of Jean-Luc Godard’s “children of Marx and Coca-Cola” in Masculin féminin.  She  lost other films because she looked too young   (still does in her 70s) or was simply canned. Godard was one of the six realisateurs making a short each  about prostitution through the ages, but this time, Goya had old-timer Claude Autant-Lara shoving her in a rocking-chair and rolling it backwards and forwards, again and again, until she yelled: “Stop! Or I’ll vomit!” Au revoir mademoiselle! “And I got a chocolate eclair at the loca boulangerie for consolation.”
  2. Haydée Politoff, Les jeunes loups, France-Italy, 1967.    This time, the director was a French icon –  Marcel Carné, no less.  OK, he madeLe quai des brumes,Hotel du Nord, Le jour se leve, Les visiteurs de soir, Les enfants du paradis. That was then, the 30s, 40s. This was now and  Goya said  he gave too many orders. “Move three metres forward, four to the left, two to your right… ”  “I told him: Godard never does that”   Au revoir, mademoiselle.
  3. Claude Jade, Topaz, 1968.     “I’m too sincere, too true to project myself into a character.” No matter. Alfred Hitchcock’s choice for Michele proved pregnant. Goya’s  real family name – de Guerre – matched his war with Universal. The studio forced the film on him: his unhappiest film experience –  and biggest flop

 Birth year: Death year: Other name: Usual occupation: SingerCasting Calls:  3