DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL illustrated POSTER for the ISRAEL 1959 PREMIERE of ANDRE CAYATTE  FRENCH film " LE MIROIR A DEUX FACES " ( The MIRROR HAS TWO FACES ) , Srarring BOURVIL and MICHELE MORGAN in the small rural town of NATHANYA in ISRAEL.  The cinema-movie hall " CINEMA SHARON" , A local Israeli " CINEMA PARADISO" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1960 . Text in HEBREW and FRENCH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , Immediately after its release in 1958 in FRANCE . The ISRAELI distributors of the film have given it a HEBREW text which is quite archaic and amusing . GIANT size around 24" x 38" ( Not accurate ) . Printed in red and blue . The condition is very good . 2 folds ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITY : The POSTER is fully guaranteed ORIGINAL from 1959 ( dated ) , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
 
PAYMENTS : Payment method accepted : Paypal & All credit cards.

SHIPPMENT : SHIPP worldwide via registered airmail is $ 25 . Poster will be sent rolled in a special protective rigid sealed tube. Will be sent around 5-10 days after payment .  


Le Miroir a deux faces (English title: The Mirror Has Two Faces) is a 1958 French drama film directed by André Cayatte who co-wrote screenplay with Gérard Oury, Jean Meckert and Denis Perret. The film stars Michèle Morgan, Bourvil and Ivan Desny. The Mirror Has Two Faces (1996) adapted by Richard LaGravenese, starring Barbra Streisand, is based on Le Miroir à Deux Faces. Cast Michèle Morgan - Marie-Jose Bourvil – Tardivet Ivan Desny – Gerard Elizabeth Manet – Veronique Gérard Oury - Dr. Bosc Sandra Milo – Ariane Georgette Anys - Mme. Benoit Julien Carette - M. Benoit Georges Chamarat - M. Vauzanges Jane Marken - Mme. Vauzanges Sylvie - Mme. Tardivet Synopsis Pierre Tardivet, a professor, marries Marie-José Vauzange, a sensitive and intelligent girl with bad looks. Tardivet's mean spirit soon appears in their marital life, plunging Marie-José in a monotonous life. Two children are born out this marriage. Tardivet suffers a car accident and he is tended by Dr. Bosc, a famous plastic surgeon. Bosc operates on Marie-José and her transformation is total. Tardivet's meannes exacerbates as he becomes embittered and hateful towards the new looks of his wife whom he does not consider his anymore. He kills Dr. Bosc at the time when Marie-José and her sister's husband, Gérard Durieu, want to elope and restart their lives. Aware of her duties, she renounces her happiness to tend to her husband and children. André Cayatte (3 February 1909, Carcassonne – 6 February 1989, Paris) was a French New Wave filmmaker and lawyer, who became known for his films centering on themes of crime, justice, and moral responsibility, themes which Cayatte persisted in affirming regardless of changing contemporary attitudes. Some of Cayatte's earlier films that covered these themes include Justice est faite (Justice is Done, 1950), Nous sommes tous des assassins (We Are All Murderers, 1952), and Le passage du Rhin (Tomorrow Is My Turn) (1960). In 1963, André Cayatte undertook a bold experiment in film narrative with a set of two films entitled Jean-Marc ou La vie conjugale (Anatomy of a Marriage: My Days with Jean-Marc), and Françoise ou La vie conjugale (Anatomy of a Marriage: My Days with Françoise). Anatomy of a Marriage tells the same story from two different points of view, forming a cinematic pairing that anticipated later works like Alain Resnais’ Smoking/No Smoking (1993). His 1973 film Il n'y a pas de fumée sans feu won the Silver Bear Special Jury Prize at the 23rd Berlin International Film Festival.[1] Selected filmography La fausse maîtresse (1942) We Are All Murderers (1951) Before the Deluge (1954) Tomorrow is My Turn (1962) Le glaive et la balance (1963) Les Chemins de Katmandou (fr ) (1969) Mourir d'aimer (fr) (1971) Il n'y a pas de fumée sans feu (1973) Verdict (1974) State Reasons (1978) Question of Love (1978) Michèle Morgan (pronounced: [miʃɛl mɔʁɡan]; born 29 February 1920) is a French film actress, who was a leading lady for three decades. Morgan was born Simone Renée Roussel[1][2] in Neuilly-sur-Seine, Hauts-de-Seine, a wealthy western suburb of Paris. She left home at the age of 15 for Paris determined to become an actress. She took acting lessons from René Simon while serving as an extra in several films to pay for her drama classes. Her beauty was noticed by director Marc Allégret who offered her a major role in the film Gribouille in 1937, opposite Raimu. Then came the film Le Quai des brumes by Marcel Carné in 1938, opposite the great French actor Jean Gabin, and Remorques in 1941. These two films established her as one of the leading actress of the time in French cinema. Upon the invasion of France in 1940 by the Germans, Morgan left for the United States and Hollywood where she was contracted to RKO Pictures. Her career there proved rather disappointing, apart from Joan of Paris opposite Paul Henreid in 1942, Higher and Higher opposite Frank Sinatra in 1943. She was tested and strongly considered for the female lead in Casablanca but RKO would not release her for the amount of money that Warner Bros. offered.[3] Morgan did work for Warners in Passage to Marseille opposite Humphrey Bogart in 1944. Nothing major came her way. The war over, Morgan returned to France and quickly picked up her career with the 1946 film, La Symphonie Pastorale by Jean Delannoy, which earned her the "Best Actress" award at the Cannes Film Festival. Other notable films include Carol Reed's The Fallen Idol (1948), Fabiola (1949), The Proud and the Beautiful (1953) by Yves Allégret, Les Grandes Manœuvres (1955) by René Clair, Marie-Antoinette reine de France (1956). Morgan continued working in films throughout the 1960s, notably in Lost Command, a 1966 film version of Les Centurions. In the 1970s, she virtually retired from her acting career, then made occasional appearances on film, television and theatre. For her contribution to the motion picture industry, Morgan has a star on the Hollywood Walk of Fame at 1645 Vine Street. In 1969, the government of France awarded her the Legion of Honor. For her long service to the French motion picture industry, in 1992 she was given an Honorary César Award. In 1996, she also received the Career Golden Lion for lifetime achievement at the Venice Film Festival. Morgan achieved her greatest popularity in French cinema during the 1940s and 1950s,[4] although she is mostly unknown outside of France. She published her autobiography entitled Avec ces yeux-là in 1977.[5] She also paints and has done so since the 1960s. She has a fetish for painting fish because it is her zodiac sign. While others were on the barricades in May 1968, she was painting abstract objects.[6] She had a solo exhibition at the Paris gallery "Artistes En Lumière à Paris" (2 March – 30 April 2009).[7] André Bourvil, born André Robert Raimbourg (French pronunciation: ​[ɑ̃dʁe buʁˈvil]; 27 July 1917, Prétot-Vicquemare, France – 23 September 1970, Paris), was a French actor and singer best known for his roles in comedy films, most notably in his collaboration with Louis de Funès in the films Le Corniaud (1965) and La Grande Vadrouille (1966). For his performance in Le Corniaud, he won a Special Diploma at the 4th Moscow International Film Festival.[1] His father was killed in the First World War before Bourvil was born. As a result, he spent his entire childhood in the village of Bourville, the name of which inspired his stage name. He married Jeanne Lefrique on 23 January 1943. After a battle with Kahler's syndrome, which attacks the bone marrow, he died at the age of 53. He is buried in Montainville, Yvelines. His roles In his comic performances Bourvil principally played roles of gentle and well-meaning characters who were often a bit obtuse or naive, such as his roles opposite the hyperactive, dishonest and bossy ones played by Louis de Funès. Bourvil's characters not only managed to make viewers laugh, but also to save themselves from the Machiavellian designs of adversaries. Bourvil was, however, also capable of more dramatic roles such as the handyman in L'Arbre de Noël (1969). In this role he observes the relationship between a man he works for and the young son who has fallen ill. The audience can identify with the character played by Bourvil, just as they can in his comic roles, so often as a simple man. One can also note his role of Thénardier in the film adaptation of Les Misérables (1958), and his last role as the policeman Mattei in Jean-Pierre Melville's Le Cercle rouge (1970). In March 1948, Bourvil took part in the complete recording of Offenbach's The Tales of Hoffmann with artists of the Paris Opéra-Comique conducted by André Cluytens, playing the four 'servant' roles. Le Miroir à deux faces est un drame français réalisé par André Cayatte, sorti en 1958. Grâce à une annonce, Pierre Tardivet, petit professeur besogneux, épouse Marie-José Vauzange, jeune fille intelligente et sensible, mais au physique ingrat. Bien vite la mesquinerie de Tardivet et de sa mère apparaissent et Marie-José se résout à une vie monotone. Deux enfants naissent. Dix ans passent. Victime d'un accident de la route, Tardivet est soigné par le docteur Bosc, célèbre chirurgien esthétique. Bosc, ayant vu sa beauté cachée, opère Marie-José. La transformation est totale. Devant cette femme devenue trop belle et qu'il ne considère plus comme la sienne, Tardivet amer et haineux, tue le docteur Bosc au moment où Marie-José voulait refaire sa vie avec Gérard Durieu, l'époux de sa sœur Véronique. Consciente de ses devoirs, elle renonce à son bonheur pour se consacrer à ses enfants et à leur père. Critique Le Miroir à deux faces est un film original à double titre : il s'agit à la fois d'un des rares rôles dramatiques de Bourvil, qui compose un personnage odieux de mesquinerie, et d'un film où la beauté de Michèle Morgan n'est pas exploitée, puisqu'elle joue au contraire le rôle d'une femme laide.    ebay2730