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In 1936 Barrault met actress Madeleine Renaud, who was a decade his senior, and\nmarried her four years later. Together the couple founded many theatres\n(including the Renaud-Barrault Paris stage company in 1947) and toured\nextensively, becoming the Lunt and Fontanne of European theatre with\nsuch performances in "Christopher Columbus" (1957) (she as his Queen\nIsabella), "The Misanthrope" (1957) and "The Marriage of Figaro" (1964)\namong their many collaborations. In November of 1952, Barrault and\nRenard made daunting Broadway debuts touring in repertory with "Les\nFausses Confidences", "Baptiste", "The Trial", "Amphitryon", "Scapin",\n"Keep Your Eyes on Amelie" and "Hamlet". In 1957, they returned with\n"Christopher Columbus", "Volpone", "The Misanthrope", "Intermezzo", and\nothers. He received a "special" Tony award for his work.

Barrault's thin frame, gentle bearing and sensitive features belied a\ngreat power and those same talents were utilized magnificently, if\nsporadically, on film, associating with the greatest of directors\nincluding Abel Gance, Georg Wilhelm Pabst, Sacha Guitry, Jean Delannoy, Max Ophüls and Jean Renoir. His\ninitial impression playing Beethoven's nephew Karl in Un grand amour de Beethoven (1936), led to\nother fine filming. Arguably his most notable triumph on film was his\nportrayal of Baptiste in Cennetin Çocukları (1945), which was based on the life of the\nmime-actor Jean-Gaspard Deburau, a character he originally suggested to\nMarcel Carné and Jacques Prévert. The phenomenal success of that film singlehandedly\nrevived public interest in the art of pantomime and subsequently\ninfluenced the popularity of legendary mime Marcel Marceau. Barrault's\npeerless performance in that role is still studied in acting and mime\nschools today. Elsewhere, he appeared in historical characterizations\nranging from that of composer Hector Berlioz to Napoleon Bonaparte.

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In 1963 she had an accident which left\nher almost blind. Her most important movies were filmed and directed by\nMarcel Carné ("Hotel du Nord (1938)" or "Enfants du Paradis, Les\n(1945)").","jobs":["Actress","Soundtrack"],"imdb_id":"nm0001916","jw_id":71628,"id":"667d522573d1e3906f02f619"},{"name":"Jean-Louis Barrault","image":"https://m.media-amazon.com/images/M/MV5BMTgxNTM5ODQwM15BMl5BanBnXkFtZTcwMzI3MTQ4Ng@@._V1_.jpg","bio":"Celebrated French stage actor/director/producer Jean-Louis Barrault was\nborn on September 8, 1910. A superlative tragedian and mime, his\ndedication to both avant-garde and classical plays helped revive the\nFrench theatre after World War II, while presenting world premières of\nworks by such playwrights as Samuel Beckett, Eugène Ionesco and Jean Genet. A rebel with\nmany causes, he once hid French Underground members on the set of his\ngreatest film Cennetin Çocukları (1945).

Barrault initially was a teacher and studied art before turning to the\ntheatre. A gifted student of both Charles Dullin of drama and Etienne Decroux of\npantomime, he supported himself as a bookkeeper and flower salesman\nduring those lean years. He made his official film bow in Vagabonds imaginaires (1950)\n(billed as J.L. Barrault), and took his first curtain call a year later\nplaying a servant in "Volpone" at the Theatre de l'Atelier. While he\nmade quite an impact in numerous classic, romantic films, including\nDrôle de drame (1937), Mirages (1938) and Cennetin Çocukları (1945) (the last two opposite the exquisite\nArletty), the theatre would remain Barrault's greatest passion, marking\nhis directorial debut with "Les beaux jours" in 1935. Five years later\nhe would join the Comedie Francaise as both actor/director.

In 1936 Barrault met actress Madeleine Renaud, who was a decade his senior, and\nmarried her four years later. Together the couple founded many theatres\n(including the Renaud-Barrault Paris stage company in 1947) and toured\nextensively, becoming the Lunt and Fontanne of European theatre with\nsuch performances in "Christopher Columbus" (1957) (she as his Queen\nIsabella), "The Misanthrope" (1957) and "The Marriage of Figaro" (1964)\namong their many collaborations. In November of 1952, Barrault and\nRenard made daunting Broadway debuts touring in repertory with "Les\nFausses Confidences", "Baptiste", "The Trial", "Amphitryon", "Scapin",\n"Keep Your Eyes on Amelie" and "Hamlet". In 1957, they returned with\n"Christopher Columbus", "Volpone", "The Misanthrope", "Intermezzo", and\nothers. He received a "special" Tony award for his work.

Barrault's thin frame, gentle bearing and sensitive features belied a\ngreat power and those same talents were utilized magnificently, if\nsporadically, on film, associating with the greatest of directors\nincluding Abel Gance, Georg Wilhelm Pabst, Sacha Guitry, Jean Delannoy, Max Ophüls and Jean Renoir. His\ninitial impression playing Beethoven's nephew Karl in Un grand amour de Beethoven (1936), led to\nother fine filming. Arguably his most notable triumph on film was his\nportrayal of Baptiste in Cennetin Çocukları (1945), which was based on the life of the\nmime-actor Jean-Gaspard Deburau, a character he originally suggested to\nMarcel Carné and Jacques Prévert. The phenomenal success of that film singlehandedly\nrevived public interest in the art of pantomime and subsequently\ninfluenced the popularity of legendary mime Marcel Marceau. Barrault's\npeerless performance in that role is still studied in acting and mime\nschools today. Elsewhere, he appeared in historical characterizations\nranging from that of composer Hector Berlioz to Napoleon Bonaparte.

In later years Barrault served twice as director of the Theatre des\nNations and in 1974-1981 was the director of the Theatre d'Orsay. His\nlast film performance at age 78 was in La lumière du lac (1988). 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