In the industry, Ariel now had a reputation as a troublemaker. On the set of Beau-père, the producer, Alain Sarde, had offered her a golden contract: one film a year with his company, until she turned eighteen. After the trial, she heard nothing more about it, and the two films she made back-to-back, 'Mora' and 'On s’en fout, nous on s’aime', didn’t make a lasting impression. Did the trial torpedo her career? Ariel Besse is left to speculate, but she doesn’t dwell on the past. At forty-six, she’s a happy, lively, funny, charming woman who sometimes has the giggles of a teenager. A mother of four, she lives in the foothills of the Southern Prealps, a few kilometers from Draguignan. A small house perched in a tree in the garden, two dogs playing wildly, a cat napping, and an old stable renovated with her husband that radiates joie de vivre. Her eyes haven’t changed. Nor has her tone: spontaneous, amused, direct. But life has taken its time. Ariel, true to her ethereal name, has been very active, never letting herself be confined, even if it meant experiencing some setbacks. After helping out on an organic farm, she worked as a mail carrier, but left the postal service to pursue her studies and become what she dreamed of at twenty: a marriage counselor.[...]
The fairy tale had continued in Cannes. In the wake of this, Première magazine interviewed her for its June issue: on page sixty-four, she was presented as the great hope of French cinema. And then there was this poster incident, this misstep, these bad films too that she went off to make, starting in September, while Beau-père was being released. in theaters.From her second film, Mora, she saw the difference. “If this doesn’t work out between us, you’ll be leaving here eating the carpet,” the young director Léon Desclozeaux declared to her as a preamble. The result: a virulent eczema attack that sidelined her for two weeks. Philippe Léotard openly flirted with her, cocaine was passed around, no thanks, come on, you have to try this once in your life, if you insist, I’ll throw everything on the floor, fine, fine… In January 1982, after filming, she went to join her father in Forcalquier, to painfully complete her third year of secondary school, marking the sad end of her studies. She wasn’t destined for a long education, she says, but cinema accelerated things.[...]
She returns to Paris to enroll at the Cours Florent drama school, but she witnesses the daily humiliations inflicted on aspiring actresses. Prematurely mature, she lives alone at sixteen and a half, goes to a few auditions in vain, gets an agent at eighteen, meets Zulawski, a fleeting encounter—whose fault is it?—she still asks herself that question. She gradually understands that she must mourn the end of her acting career. At nineteen, she went to Blois: to land a job in the video store, she reminded everyone that she was the 'Beau-père''s stepdaughter.
Beau père (1981)
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