An American-Trained Actress in Paris Franceís MichËle Laroque Hitting Her Stride as Comic Actress by Ky N. Nguyen As a student, I was in a bad car accident," said actress MichËle Laroque. "While lying in the hospital, I wondered if I was a good or a bad actress? I knew I had to find out." Armed with this burning question, Laroque began her quest for an answer. Following her recovery, she dropped her studies in economics and began to pursue acting. Born in Nice to a French father and a Romanian mother (who was a dancer), Laroque grew up taking lessons in sports, piano, singing, and theater. "Unlike the other activities, which my mother picked, theater was chosen by me," she said. "I went there with pleasure." As she grew older, however, Laroque dropped theateróuntil college and the unfortunate accident. Before her hospital bed revelation, she remembers, "I never wanted to be an actress." Today, the 41-year-old Laroque is one of the top actresses in France, earning two CÈsar nominations. Though best known for her comedic talents, she has also tackled dramatic roles. To audiences in the United States, she is best known for her portrayal of the mother i n Belgian director Alain Berlinerís Oscar-nominated "Ma Vie en Rose (My Life in Pink)." I met Laroque in her suite at the Harbor Court Hotel in Baltimore, where she was looking comfortable in a Snoopy and Woodstock T-shirt and jeans. Slender and graceful, she initially displayed an air of reserved formality. As we talked, she revealed a very personal and sensitive side. She showed genuine fondness when admiring the Belgian people ("special because of their mix of cultures Ö poetic and violent"), Berliner ("very shy, very reserved Ö knows exactly what he wants, very clever"), and her child co-star ("very mature Ö so special"). Laroque is equally generous in characterizing her acting teachers and other talent with whom sheís worked. In the current farce "The Closet (Le Placard)," Laroque stars opposite esteemed actor Daniel Auteuil, seen recently in Patrice Leconteís "The Widow of Saint-Pierre (La Veuve de Saint-Pierre)" and "The Girl on the Bridge (La Fille sur le pont)." Laroque described working with Auteuil: "Itís very easy to act in front of a good actor. Everything I have to do is very evident." She plays Mademoiselle Bertrand, the boss of FranÁois Pignon (Auteuil), an unpopular and boring accountant who inadvertently discovers he will soon lose his job. In desperation, Pignon plants the erroneous suggestion that heís a homosexual, hoping the corporation wonít fire him to avoid the appearance of discrimination. The ploy works, and Pignonís co-workers and family begin to see him in a new light. Bertrandís perception of Pignon improves, but sheís the only one who never believes heís gayóresulting in hilarious situations filled with sexual tension. Laroque said that her personal experiences as a famous actress help her relate to the story. "I have only recently understood that people donít necessarily talk to me when they are telling me something. They talk to the image that they have of me. Until an actor or actress comes to understand that, itís very difficult to live with this profession. In Pignonís case, he becomes the center of attention overnight and itís so clear, without changing his behavior at all, all the people around him start projecting things onto him." Perhaps it was Laroqueís insights into the absurd and the farcical in real life that helped her achieve critical success as a comic actress. The movieís renowned writer-director, Francis VÈber, lavishes praise on her: "MichËle is a great actress. It was necessary to find someone for the role who could capture all of this seriousness and dignity and, at the same time, she possesses all the timing and skill of a great comic actress. MichËle managed the role beautifully." Sheís a pioneer, landing the first major female role in a film written and directed by VÈber, whoís been working since 1969. He said, "I thought for a long time that comedy was a masculine thing where I was permitted to ridicule my characters without risk. Pierre Richard has slipped on a number of banana peels in my films, and I was hesitant to impose this on women. I donít know if I have less scruples now, but I want to write for actresses." With a big smile, Laroque said, "I was very spoiled, being the only girl." She said of VÈber: "Francis is known as the best one in comedy. Heís the only one who could have assembled such a cast all together." In many ways the spiritual fountainhead of contemporary French comedy, VÈber was also able to attract all-star veterans GÈrard Depardieu, Thierry Lhermitte, Michel Aumont, and Jean Rochefort. VÈber is internationally recognized as the writer of 1978ís classic "La Cage aux Folles" and the writer-director of the seminal French 1980s comedies, "La ChËvre (The Goat)," "Les CompËres," and "Les Fugitifs." He has lived for 15 years in Los Angeles, where heís written or directed several English-language movies. Though VÈberís francophone comedies are unquestionably very French, Laroque feels his American experience "makes his work very universal." Indeed, seven of his French films have been adapted into American versions. VÈber is writing and directing the remake of his previous film, "The Dinner Game (Le DÓner de Cons)," into an upcoming Kevin Kline vehicle entitled "Dinner for Schmucks." Laroque has also spent valuable time on this side of the Atlantic. "I feel grateful to the United States. When I was a student, I had several scholarships, especially one in Austin, Texas, where I had the opportunity to attend drama classes." Before the theater program at the University of Texas, she said, "I studied economics in Albany, New York; Burlington, Vermont; and Austin." She continued, "Anyway, youíre going to see the results of what I learned over there. What they taught me is exactly what I use every time I get a new character in a movie or a theater play." For example, to prepare for her part, Laroque said, "I write a biography of my character. I try to be like my [long-lost] twin sister. Other actors say to me, ëThatís not French!í In France, acting is concerned with subjectivity and dreams. There is no toolbox." Unlike French actors, American performers typically memorize their lines before rehearsal. This practice makes Laroque uniquely suitable for VÈber, who insists that actors speak their lines exactly as written. He said, "When you write, you hear the lines sing and you dream of interpreters who have the talent to recreate this music. Thatís what I look for on the set." Laroque also trained with three teachers from La ComÈdie-FranÁaise, the legendary French institution. She gratefully remembered: "They want students to perform as quickly as possible." Thrust into French theater, she still found opportunities to take advantage of her American education: "I adapted [into French] and performed in ëSteel Magnoliasí and ëI Want to Be in Pictures.í" She added, "I acted in theater for seven years. [French director] Patrice Leconte noticed me on the stage." Leconte cast her in "The Hairdresserís Husband," the first film for both. In just over 10 years, Laroque has played some 30 parts in French cinema and television. Washington viewers may have also seen her in Claude Sautetís "Nelly et Monsieur Arnaud," Camille de Casabiancaís "Madame Petletís True Story (Le Fabuleux destin de Madame Petlet)" and Marion Vernouxís "Nobody Loves Me (Personne ne míaime)." Laroque said, "I was quite lucky because I worked with wonderful French directors and very big French actors. I know all the people in France." She is now prepared to expand her horizons. Laroque is ready to accept an American role when the right opportunity arises. She noted, "Iím reading some scripts. Iím waiting for a part where I could bring something to it." She then added, contrary to the popular opinion of Hollywood, "I feel thereís no competition in my job. Everyone is different." American viewers have been receptive to her during the promotional tour for "The Closet." Laroque said, "At several screenings in the U.S., we had incredible audiences. Unlike French audiences, Americans donít know what theyíre going to see. They were very moved by the story. In San Francisco, one person said, ëI never knew I could laugh so much reading subtitles.í" Laroque looks forward to a vacation in Los Angeles with her 6-year-old daughter, Oriane. For now, she can enjoy her relative anonymity in the United States. In France, she is frequently stopped and asked for autographs. In September, Laroque will return to the Paris stage to act in a play she co-wrote, "They Used to Love Each Other (Ils Se Sont AimÈs)." It is the sequel to the popular "They Love Each Other (Ils SíAiment)." To her credit, the play is already a big success. Tickets are nearly sold out before each opening, much l ike Broadwayís current smash "The Producers." And Laroque herself has become a producer. She is currently making a romantic comedy titled "The Rare Bird," in which she also acts. "This year will be very good for me," she said. It may now be safe to conclude that sheís made it as a good actress. Ky N. Nguyen is the film reviewer for The Washington Diplomat.