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In the 1970s Brialy extended his talents to include writing and\ndirecting, which included his debut film, the award-winning\nÉglantine (1972). Most of the works he\nhelmed were delightfully nostalgic and family-oriented in fashion. He\nalso entered a newer phase of supporting character roles that also went\non to court awards. After beginning the decade in one of his best film\nleads with\nClaire'in Dizi (1970)\n[Claire's Knee] for director/friend Rohmer, he earned a supporting\nCésar nomination for\nYargıç ve cellâdı - Cinayet oyunu (1976)\nand then won the trophy a decade later for his secondary work in\nMasumlar (1987). During this\ntime he also organized or supported several film and theatre festivals.\nHe was the director of both the Théâtre Hébertot (1977) and the Théâtre\ndes Bouffes-Parisiens (1986). A long time artistic director of the\nFestival of Anjou (1985-2001), he was also the creator and artistic\ndirector of the Festival of Ramatuelle from 1985. His work also\nincluded radio and extensive TV.

Off stage Brialy was a witty raconteur and bon vivant. He was also one\nof the select few French stars to be openly gay. It was most fitting\nthat two of his more notable roles came late in life -- as the gay\nuncle in Chabrol's\nInspecteur Lavardin (1986),\nand as the poet Max Jacob in\nMonsieur Max (2007), a\nhomosexual Jew who converted to Catholicism before perishing in a\nGestapo prison camp.

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Following time spent in the theatre, he moved to Paris in 1954 to\npursue his career, without the support of his family, and worked\nvarious odd jobs before entering military service in Germany. Mixing in\nwith a revolutionary group of artists that included\nClaude Chabrol and\nJean-Luc Godard, he appeared as an extra\nin Jean Renoir's\nElena ve Erkekler (1956)\n[Paris Does Strange things] and befriended other such rising film\nradicals as Éric Rohmer and\nJacques Rivette while appearing in their\nshort films. He grew in stature with featured roles in\nAmour de poche (1957) [Girl\nin His Pocket] and\nL'ami de la famille (1957)\n[A Friend of the Family], but it was his friend Chabrol who provided\nhim the leap to stardom with\nLe beau Serge (1958), which is\n(arguably) considered the forerunner in "New Wave" filming. Co-starring\nGérard Blain in the title role, Brialy\nplayed a city boy sophisticate returning to his simplified home village\njust to find that everything had changed and that his once promising\nfriend (Blain) had become a chronic drunkard. He and Blain furthered\ntheir stars next playing each other's kin in Chabrol's\nLes cousins (1959), with Blain the\ninnocent and Bialy the darkly disillusioned cousin. Bialy's association\nwith other French avant-garde directors, including Godard,\n'Francois Truffaut' and\nLouis Malle, placed him in excellent "New\nWave" company alongside\nJean-Paul Belmondo,\nJean-Pierre Léaud and the\nafore-mentioned Blain, as strong, influential leading men.

Known for his lightness, passion, charm and subtlety of performance,\nBialy's versatility in films ranged from stark melodrama to comedy\nfarce. While essaying the elegant boulevardier with great\nsophistication and sympathy, he could just as easily slip into a\ncharacter's dark and deep cynicism and/or contempt. He starred opposite\na fantasia of Europe's loveliest leading ladies including\nRosanna Schiaffino,\nDanielle Darrieux,\nNadja Tiller,\nElsa Martinelli,\nFrançoise Dorléac,\nGeneviève Page and\nDawn Addams. He ended the 60s notably paired\nwith the enigmatic Jeanne Moreau in\nTruffaut's stylish Hitchockian thriller\nSiyah gelinlik (1968)\n[The Bride Wore Black].

In the 1970s Brialy extended his talents to include writing and\ndirecting, which included his debut film, the award-winning\nÉglantine (1972). Most of the works he\nhelmed were delightfully nostalgic and family-oriented in fashion. He\nalso entered a newer phase of supporting character roles that also went\non to court awards. After beginning the decade in one of his best film\nleads with\nClaire'in Dizi (1970)\n[Claire's Knee] for director/friend Rohmer, he earned a supporting\nCésar nomination for\nYargıç ve cellâdı - Cinayet oyunu (1976)\nand then won the trophy a decade later for his secondary work in\nMasumlar (1987). During this\ntime he also organized or supported several film and theatre festivals.\nHe was the director of both the Théâtre Hébertot (1977) and the Théâtre\ndes Bouffes-Parisiens (1986). A long time artistic director of the\nFestival of Anjou (1985-2001), he was also the creator and artistic\ndirector of the Festival of Ramatuelle from 1985. His work also\nincluded radio and extensive TV.

Off stage Brialy was a witty raconteur and bon vivant. He was also one\nof the select few French stars to be openly gay. It was most fitting\nthat two of his more notable roles came late in life -- as the gay\nuncle in Chabrol's\nInspecteur Lavardin (1986),\nand as the poet Max Jacob in\nMonsieur Max (2007), a\nhomosexual Jew who converted to Catholicism before perishing in a\nGestapo prison camp.

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