Joan Leslie Early Hollywood career What is an example of one of Joan's early roles? Camille
What year did she play the role of Camille?
What year did Joan Leslie play the role of Camille?
In 1936, Leslie caught the attention of a talent scout from Metro-Goldwyn-Mayer (MGM) when the three Brodel sisters were performing in New York. She was given a six-month contract with the studio, earning $200 per week. While working at the studio, she attended MGM's Little Red Schoolhouse with other child actors like Mickey Rooney and Freddie Bartholomew.  Her first film role was in Camille (1936), a romantic drama starring Greta Garbo and Robert Taylor. She played Taylor's younger sister Marie Jeanette, but her speaking scenes were deleted and she was uncredited. MGM had trouble finding suitable roles for her, and she was let go by the studio along with Deanna Durbin. Leslie returned to New York, working on the radio and as a model. During this time, her older sister Mary was signed to Universal Studios. Leslie returned to Hollywood with the rest of her family, working for different studios as a freelancer. She mainly worked for RKO Pictures.  Leslie was selected to play a small role in Men with Wings (1938). While shooting the film, director William A. Wellman discovered that Leslie's mother had lied about her daughter's age and that she was only thirteen years old. For the remainder of the filming schedule, Wellman replaced her with Mary.  Leslie gained her first credited role in Winter Carnival (1939) as Betsy Phillips. She was chosen for the part because the director was searching for an actress with a southern accent. She was billed as Joan Brodel. Later that year, she co-starred with Jimmy Lydon in Two Thoroughbreds, in which she played the daughter of a horse owner.  At age 15, Leslie was selected by a group of Hollywood directors as one of 13 "baby stars of 1940." CANNOTANSWER
a romantic drama starring Greta Garbo and Robert Taylor. She played Taylor's younger sister Marie Jeanette,
Joan Leslie (born Joan Agnes Theresa Sadie Brodel; January 26, 1925 – October 12, 2015) was an American actress and vaudevillian, who during the Hollywood Golden Age, appeared in such films as High Sierra, Sergeant York, and Yankee Doodle Dandy.

Early life
Joan Agnes Theresa Sadie Brodel was born on January 26, 1925, in Highland Park, Michigan, the youngest child of John and Agnes Brodel. John was a bank clerk and Agnes was a pianist.

Joan's two older sisters, Betty (born 1919) and Mary Brodel (1916–2015), shared their mother's musical interest and started to learn how to play instruments, such as the saxophone and the banjo, at an early age. They began performing in front of audiences in acts that included singing and dancing. Leslie joined the duo at two and a half years of age. She was soon able to play the accordion.

With her father losing his job in the mid-1930s, the Great Depression caused financial difficulties for the family. As a result, the three sisters entered show business as vaudeville performers to support the family. They began touring in Canada and the United States. Collectively, they were known as The Three Brodels. As an attempt to bypass child labor laws at the time, both Mary and Joan pretended to be older than they were. When Leslie was nine, she told child labor investigators that she was 16 years old. Joan proved to be the scene stealer of the three sisters because of her impersonations of figures such as Katharine Hepburn, Maurice Chevalier, and Jimmy Durante. Coming from a family of Irish ancestry, Leslie was raised as a Roman Catholic and attended Catholic schools in Detroit, Toronto, and Montreal.

Early Hollywood career
In 1936, 11-year-old Leslie caught the attention of a talent scout from Metro-Goldwyn-Mayer (MGM) when the three Brodel sisters were performing in New York. She was given a six-month contract with the studio, earning $200 per week. While working at the studio, she attended MGM's Little Red Schoolhouse with other child actors such as Judy Garland, Mickey Rooney, and Freddie Bartholomew.

Her first film role was in Camille (1936), a romantic drama starring Greta Garbo and Robert Taylor. She played Taylor's younger sister Marie Jeanette, but her speaking scenes were deleted and she was uncredited. MGM had trouble finding suitable roles for her, and she was let go by the studio along with Deanna Durbin. Leslie returned to New York, working on the radio and as a model. During this time, her older sister Mary was signed to Universal Studios. Leslie returned to Hollywood with the rest of her family, working for different studios as a freelancer. She mainly worked for RKO Pictures.

Leslie was selected to play a small role in Men with Wings (1938). While shooting the film, director William A. Wellman discovered that Leslie's mother had lied about her daughter's age and that she was only 13 years old. For the remainder of the filming schedule, Wellman replaced her with Mary.

Leslie gained her first credited role in Winter Carnival (1939) as Betsy Phillips. She was chosen for the part because the director was searching for an actress with a southern accent. She was billed as Joan Brodel. Later that year, she co-starred with Jimmy Lydon in Two Thoroughbreds, in which she played the daughter of a horse owner.

At age 15, Leslie was selected by a group of Hollywood directors as one of 13 "baby stars of 1940." That same year, she appeared in the Warner Bros. film short, Alice in Movieland, about a starlet trying to make her mark in Hollywood. One of the first films directed by Jean Negulesco in Hollywood, it was based on a story by Ed Sullivan.

Success at Warner Bros.

Her big break came when she signed a contract with Warner Bros. in 1941. At the time, actress Joan Blondell's name was considered too similar, so Brodel's acting name was changed to Joan Leslie.

Two weeks later, the then-15-year-old actress was asked to do a screen test while unaware which movie it was for. She got the part because she could cry on cue. The movie was High Sierra (1941), starring Ida Lupino and Humphrey Bogart. Leslie played the crippled girl, Velma. Film critic Bosley Crowther wrote: "a newcomer named Joan Leslie handles lesser roles effectively."

Later that year, Warner Bros. produced a biopic of Alvin C. York, a decorated American World War I soldier, Sergeant York (also 1941), starring Gary Cooper. Jane Russell was initially suggested for the role of Gracie Williams, York's fiancée, but York wanted an actress who neither smoked nor drank. 16-year old Leslie eventually got the part. Sergeant York was a critical and financial success, becoming the highest-grossing movie of 1941. It received 11 Oscar nominations and Cooper won the Best Actor award.

Cooper (aged 40) was 24 years her senior. "Gary gave me a doll on the set," Leslie later told the Toronto Star. "That's how he saw me."

Leslie had a supporting role in The Male Animal (1942). She played Olivia de Havilland's younger sister, Patricia Stanley, a role Gene Tierney had played in the original Broadway production.

She auditioned for Paramount's Holiday Inn (1942), but Warner Bros. decided to cast her in Yankee Doodle Dandy (also 1942) with James Cagney. The film is a musical depicting the life of Broadway entertainer George M. Cohan. Leslie portrayed his girlfriend/wife Mary, an aspiring singer. The film received eight Oscar nominations, including a Best Actor award for James Cagney. By now, Leslie had become a star whose on-screen image was described as "sweet innocence without seeming too sugary."

Leslie was in four motion pictures released during 1943. The first was The Hard Way, starring Ida Lupino and Dennis Morgan. A New York Times reviewer described Leslie as "just as deft and versatile a lady as the character she is supposed to be." For the second, she was lent to RKO for The Sky's the Limit, starring with Fred Astaire. Leslie's character introduced the Harold Arlen-Johnny Mercer song "My Shining Hour". In the third movie, Leslie co-starred in the wartime motion picture This Is the Army  with Ronald Reagan. The fourth movie was Thank Your Lucky Stars.

She was considered for the role of Tessa in The Constant Nymph (also 1943), wherein she would play opposite Errol Flynn. Studio executive Jack L. Warner, though, felt she was unsuitable and the part went to Joan Fontaine. The Australian-born actor Flynn was rejected because the director wanted a British actor.

During World War II, she was a regular volunteer at the Hollywood Canteen, where she danced with servicemen and signed hundreds of autographs. She was featured with Robert Hutton, among many others, in the Warner Bros. film Hollywood Canteen (1944). Like most of the other Hollywood stars appearing in the film, she played herself, but the fictionalized plot had her falling in love with a soldier (played by Hutton) frequenting the canteen. Her sister, actress Betty Brodel, briefly played herself in the film as well. In 1946, an exhibitors' poll conducted by Motion Picture Herald voted Leslie the most promising star of tomorrow.

Later career
By 1946, Leslie was growing increasingly dissatisfied with the roles offered to her by the studio. She sought more serious and mature roles, and wanted to break out of her ingenue image, which was partly due to her young age. Her decision was also based on moral and religious grounds. With the help of her lawyer Oscar Cummings, she took Warner Bros. to court to get released from her contract.

In 1947, the Catholic Theater Guild gave Leslie an award because of her "consistent refusal to use her talents and art in film productions of objectionable character."

As a result of this, Jack Warner used his influence to blacklist her from other major Hollywood studios. In 1947, she signed a two-picture contract with the poverty row studio Eagle-Lion Films. The first one was Repeat Performance (1947), a film noir in which she played a Broadway actress. The other was Northwest Stampede (1948) in which she performed with James Craig.

After her contract with Eagle-Lion Films expired, she was cast in The Skipper Surprised His Wife (1950), appearing with Robert Walker. The film was distributed by MGM, the studio with which she began her film career in 1936.

In the early 1950s, Leslie chose to focus on raising her daughters, which resulted in a more irregular film career. In 1952, she signed a short-term deal with Republic Pictures, the low-budget studio that primarily produced Westerns. One of the films she made for Republic was Flight Nurse (1953). Leslie's character, Polly Davis, was based on the successful flight nurse Lillian Kinkella Keil's career in the Air Force. It was described by the newspaper Kingsport Times-News as a thrilling film that "honors the courageous women who performed miracles of mercy above the clouds in evacuation of wounded GIs from Korean battlefields." Her last film was The Revolt of Mamie Stover (1956), but she continued making sporadic appearances in television shows while her children were at school. She retired from acting in 1991, after appearing in the TV film Fire in the Dark.

Personal life
In March 1950, she married William Caldwell, an obstetrician. Their identical twin daughters, Patrice and Ellen, were born on January 7, 1951. Both daughters eventually became teachers.

Leslie was a Democrat who supported the campaign of Adlai Stevenson during the 1952 presidential election.

Leslie was in the business of designing clothes, with her own eponymous brand. William died in 2000. A year later, she founded the Dr. William G. and Joan L. Caldwell Chair in Gynecologic Oncology for the University of Louisville. Leslie was an adopted alumna of the university for over 32 years.
A devout Catholic, she was involved with charity work for the St. Anne's Maternity Home for more than 50 years.

Death
Leslie died on October 12, 2015, in Los Angeles, California. She was 90.

Awards and honors
On October 8, 1960, Joan Leslie received a star on the Hollywood Walk of Fame at 1560 Vine Street.
In 1999, she was one of the 250 actresses nominated for the American Film Institute's selection of the 25 greatest female screen legends to have debuted before 1950. 
On August 12, 2006, she received a Golden Boot Award for her contributions to Western television shows and movies.

Complete filmography
For TV movies, see the following section.

Television

Radio appearances

References

External links

 
 
 
 Joan Leslie at the American Film Institute

1925 births
2015 deaths
20th-century American actresses
Actresses from Detroit
American Roman Catholics
American child actresses
American film actresses
American television actresses
Articles containing video clips
Burials at Holy Cross Cemetery, Culver City
California Democrats
Metro-Goldwyn-Mayer contract players
Michigan Democrats
Vaudeville performers
Warner Bros. contract players
21st-century American women
Matilda Agnes Heron (1 December 1830 – 7 March 1877) was an Irish-American actress and playwright best known for her role in the play Camille, which she translated and adapted from the French play La Dame aux Camélias.

Early life 
Matilda Agnes Heron was born in County Londonderry, Ireland on 1 December 1830 to John Heron and Mary Heron (née Laughlin). Some details of Matilda Heron's past are unsure, but many records state that her family owned a small farm in Ireland before emigrating to the United States in 1842. Matilda was around twelve at the time. Her family moved to Philadelphia, Pennsylvania where her father worked as a lumber merchant. Matilda was the youngest of five children. Her siblings include two sisters named Fanny and Agnes and a brother named Alexander. Her brother, Alexander Heron Jr., was a successful shipper. In some sources, her sisters, Fanny and Agnes, are reported to have been excellent singers. It is possible that Matilda and her sisters received stage training in Ireland, but this is not confirmed. In Philadelphia, Matilda's parents sent her to a private academy that was across from the Walnut Street Theatre. Being so close to the theatre sparked Matilda's interest in acting, and she began to train for the stage under elocution teacher, Peter Richings.

Early career 
Heron made her professional stage debut on 17 February 1851 in Philadelphia at the Walnut Street Theatre. She played the role of Bianca in Henry Hart Milman's tragic play, Fazio. After receiving positive reviews from the press, she decided to continue acting. For the next two years, she worked in stock theatre companies in Washington, New York, Philadelphia, and Boston where she portrayed a wide range of heroines such as Lady Macbeth, Juliet, and Ophelia. In 1853, she traveled to California, where she continued to work as an actress. She made her California debut in San Francisco on 26 December 1853. She continued to perform in California and received much critical acclaim for her work there. In the summer of 1854, she returned to New York.

Camille 
While in Paris in 1855, Heron saw the popular play La Dame aux Camélias (The Lady of the Camellias), and decided to present her own version, in English, in America.  The resulting Camille, premiered at the Walnut Street Theatre in Philadelphia on 3 October 1855 with Heron playing the protagonist Marguerite Gautier. The play did not receive much attention at the Walnut Street Theatre, nor at any locations on the tour that followed. Eventually, Camille came to St. Louis in January 1856 and had great success there. Camille had successful performances in Cincinnati, Mobile, and New Orleans as well. On 22 January 1857, Camille made its New York debut at Wallack's Theatre and was an immediate success. Edward Askew Sothern played the role of the lover, Armand Duval.

The play created a sensation. Matilda Heron's impulsive and rough nature aided her in developing a style of acting new for her day. Breaking with convention, she followed her feelings in her acting rather than the rules of elocution. Starting with Jean Davenport in 1853, most of the female stars of the day had appeared in the role, but Matilda Heron's Camille, more true to the original, was generally acknowledged to be the greatest on the American stage.

Her emotion-charged acting and personal magnetism, particularly in the role of Marguerite Gautier with which she became so closely identified, hypnotized audiences and critics alike with her captivating beauty. For eight years after her initial triumph she acted with comparative success in New York, London, and on tour throughout the United States, appearing as the lead in plays she had written or adapted herself. She continued to enact the role of Marguerite Gautier in New York theaters. In 1859, she was welcomed as Gautier at McVicker's Theater in Chicago; she returned to Chicago again in 1862. Her adaptation was seen in most of the important cities of the country. In New York during the season which she appeared in other plays, including her translation of Ernest Legouvé's Médée, marked the highest peak of her career. Of her role in Camille, prominent theater critic William Winter later wrote:  "Other parts she acted; that one she lived."

Heron left no explanations of her theory of acting, but there is evidence that she identified herself closely with this role; while she achieved only minimal success in any role other than Camille, her minor successes bore strong resemblance to the Camille character. In fact, it is reported that, later in her career, while speaking to an author who was to write a play for her, she was careful to state that the heroine must be "a lost woman." The "lost woman" was a type that Matilda Heron identified with, both in her personal life and on stage. It is known that Heron's sister was a prostitute and that the actress kept close ties with her sister in spite of condemnation from family and friends. In fact, her sister's profession was implicated in the break-up of Matilda Heron's first marriage.

Personal life 
In June 1854, Heron married San Franciscan lawyer, Henry Herbert Byrne. The couple separated only a few months later.  Not much is known about Heron's marriage to Byrne. Following their separation, Heron returned to the East Coast.

On 24 December 1857 Heron married composer and accomplished musician Robert Stoepel after meeting him in New Orleans at a performance of Camille. At the time, Stoepel was the leader of the orchestra at Wallack's Theatre. The couple had an unhappy marriage and their domestic troubles caused them to separate in 1869. Not much is known about the nature of Heron and Stoepel's separation, but some accounts state that Heron lied to Stoepel about her previous marriage to Henry Herbert Byrne. According to Byrne and his lawyers the divorce was not a legal divorce, resulting in Heron being married to both Byrne and Stoepel. Upon their separation in 1869, Heron and Stoepel agreed to split their properties equally.

In 1863, Heron gave birth to a daughter, Helen Wallace Stoepel, better known as Bijou Heron, who became an actress herself. After her parents' separation in 1869, Bijou went to the care of Stoepel. To educate her, he sent her first to a convent and then to a boarding school in New York City. Heron pulled her daughter out of the boarding school and trained her for the stage. Bijou made her stage debut at the age of six performing alongside her mother in Medea. On 1 February 1883 Bijou married the celebrated actor and producer Henry Miller and became the mother of the theatrical producer Gilbert Heron Miller.

Heron's nickname was "Tilly" which was short for Matilda. She sometimes referred to herself by this nickname.

Later life 
Matilda Heron's popularity was comparatively brief. Her tempestuous style of acting limited her to the "emotional" role and the "sensational" play.  By the mid-1860s, Heron's health was failing, marital difficulties impinged upon her work, and the brilliance of her reputation began to fade. From 1868 until her death she supported herself by teaching acting. In her last years she was ill and impoverished. A devout Catholic, she found solace in her religion, but her daughter was her chief source of happiness. A big benefit show was done to raise funds for her in January 1872, which included Edwin Booth, Jules Levy, John Brougham, and Laura Keene. Matilda Heron died at the age of 46 on 7 March 1877 at her New York City home a few weeks after an unsuccessful operation to halt hemorrhoidal bleeding. Her reported last words were "Tilly never did harm to anyone - poor Tilly is so happy."

After services at the Episcopal Church of the Transfiguration (the "Little Church around the Corner" beloved by actors" she was buried in Greenwood Cemetery, Brooklyn. Although the "emotional" school of acting Matilda Heron initiated had other followers, notably Clara Morris and, for a time, Laura Keene, it quickly became dated. Yet in her naturalistic performances, Miss Heron contributed to the transition from the traditional romantic acting of the nineteenth century to the twentieth century realism exemplified by such figures as Minnie Maddern Fiske.

Critical reception 
Heron's interpretation was seen as particularly American, since it fit an image of robust, vigorous, and unyielding strength compared to her frail, proper European counterparts. Indeed, Americans hoped to find in Matilda Heron an actress of their own national spirit who could gain international attention and fame. Although Matilda Heron's acting was too rough an unpolished to be seriously considered foreign to critics, she was the pride of American audiences. In response to her New York debut, the New York Daily Tribune reported that "she gave proof…that America has artists—and one whose name is to be written in distinct letters in the history and biography of the drama" (23 January 1857). Matilda Heron was unable to sustain over time the "electricity" originally projected in her interpretation. Her vitality and magnetic effect diminished since she had no technique to keep the internal truth of her acting spontaneous. As the role was repeated and as she lost some of her physical and emotional power, her life on stage became tiresome, both for herself and the audience. Matilda Heron's reliance on quirky inspiration proved to be her downfall as an artist. Adam Badeau who witnessed Heron's Camille many times, reported that "she changes her execution too much; sometimes she omits fine touches, slurs over to-night what last night was most carefully portrayed, or makes wonderfully vivid what to-morrow may seem of less account." Badeau observed that she occasionally lost control of her voice and that her elocution was far from perfect. He took note too of a lack of "anatomical control of muscles and limbs." Despite his criticism, Badeau acknowledged that there was considerable advantage to Matilda Heron's lack of technique. He wrote that "Miss Heron is not the calm, collected self-possessed woman that aperfect artist is; but though she has more blemishes for that, she has some greater excellence for the same reason." Badeau was referring to Heron's power of concentration, her native instinct, and emotional spontaneity that reached from the stage and into an audience. Her unstudied, raw and undisciplined performance was the essence of her style.

In explanation of her popularity, Tice Miller writes that "[s]he exhibited a style of emotional acting which seemed real to the audiences of her day." Henry Clapp, Jr. was greatly impressed by Heron's use of the "emotional school" of acting. According to Charles Bailey Seymour, Heron learned this approach from Mr. H. H. Davis. He saw her performance of Camille multiple times because, as Clapp explains, "she puts so much of herself into it--so much of her strong, impulsive, irrepressible genius--that she could no more play it exactly the same way two consecutive evenings than she could be exactly the same person two consecutive evenings." Edward G. P. Wilkins disagreed with Clapp and criticized Heron's performance in Camille as "a high pressure first-class Western steamboat, with all her fires up, extra pounds of steam to the square inch. The effect is fine, but the danger of an explosion is imminent."

Original works and translations 
Besides being an actress, Matilda Heron was also a writer and translator of plays. She translated the play La Dame aux Camélias into English and renamed her translation Camille. The play premiered in New York in January 1857 with Heron in the titular role. She starred alongside Edward Askew Sothern, who played the role of Armand Duval.

Among her other translations are Medea, an English translation of Ernest Legouvé's Medée which is a French adaptation of the story of Medea, and Phaedra, an English translation of Jean Racine's Phèdre. Heron appeared in both plays as the titular roles. In Medea, Heron again acted alongside Edward Askew Sothern who played the role of Jason.

Some of Matilda Heron's original works include Lesbia, Mathilde, Gamea, the Hebrew Mother, Duel in the Days of Richelieu, and The Pearl of the Palais Royal.

Around 1860 to 1861, Heron wrote The Belle of the Season and starred in it as the character Florence Upperton at the Winter Garden. The play was originally called New Year's Eve, but the name was changed to The Belle of the Season for the play's premiere in New York.

Despite her extensive work on other plays, including her original works, the only role and play that Heron received great recognition for was Camille.

References

External links 
 

19th-century American actresses
American stage actresses
1830 births
1877 deaths
Irish emigrants to the United States (before 1923) Camille Houssière, better known as Camille Lou, is a French singer, musician, and actress born on 22 May 1992 in Bersillies, Nord, France. She is well known for her roles in musicals, including 1789: Les Amants de la Bastille in the role of Olympe, and La Légende du roi Arthur in the role of Reine Guenièvre.

Early life 
Camille Lou was born 22 May 1992 in Bersillies, near Maubeuge. Her father was a singer and guitarist for the group Paradoxe, thus she and her two older sisters were exposed to music at a young age, each later learning to play an instrument, Camille played the violin. At the age of twelve, she won a local singing competition, les Voix de Noël, in Hautmont. She attended lycée Notre-Dame de Grâce à Maubeuge. After having obtained her baccalaureate she attended the University of Valenciennes.

Solo career 
In January 2010, with the help of her guitar teacher at the time, Camille began her solo career under the pseudonym Jimmie. She began to sing and completed her first album La Grande Aventure, in pop-folk style. She made many appearances under her pseudonym, notably for her work on Coeur de Pirate's album in March 2010.

On 15 September 2017, she released the single "Self Control".

Musicals 
Being friends with fellow singers Nuno Resende and Merwan Rim, she was encouraged by the latter to sing in front of Dove Attia, a musical producer with whom Resende and Rim had both worked with on Mozart, l'opéra rock. While attending a Parisian restaurant one evening, Camille and her family by chance were there at the same time as musical producer Dove Attia and singers from Mozart, l'opéra rock. Camille was encouraged by Rim to sing Falling Slowly from the film Once in front of Attia. Despite Camille having little prior experience in musical theatre, Attia was impressed and invited Camille to audition for his next musical. She sang a collection of songs from Mozart, l'opéra rock among others and finally in 2011, she won the role Olympe, servant of Marie Antoinette in the musical 1789: Les Amants de la Bastille. Camille starred in the role for two runs of the show at the Palais des Sports in Paris as well as the 2012 tour around the country.

In 2014, Dove Attia proposed the role of Guenièvre (Guinivere) to Camille in his new musical, La Légende du roi Arthur, also featuring Florent Mothe's Arthur and Zaho's Morgane (Morgana). The musical was first performed on 17 September 2015 at Palais des congrès de Paris and toured France in 2016. Camille appears in her role in music videos for "Mon combat (Tir Nam Beo)", "Quelque chose de magique", and "Auprès d'un autre" (the latter also features peaks at the activity behind the scenes).

Other projects 
In December 2014, she recorded a song for the album We Love Disney with Garou, a cover of the song "Beauty and the Beast" from the Disney film of the same name.

She participated in the album Forever Gentlemen Volume 2 singing a cover of "La soleil de ma vie" with Amir.

She also was featured in a photoshoot for Tara Jarmon.

Following 1789: Les Amants de la Bastille, she became dedicated to her solo projects but also equally to her band composed of five singers that performed in Les Chansons d'abord at the side of Natasha St-Pier, broadcast each Sunday at 5 pm on France 3.

Camille was cast as Hélène Barignet in Emmanuel Fricero's film Marché noir.

In 2016, she took part in season 7 of the French version of Dancing with the Stars partnered with Grégoire Lyonnet, finishing in second place.

Filmography

Television
 2018 : Les Bracelets rouges (fr) - Aurore
 2018 : Maman a tort (fr) - Angie
 2019 : Le Bazar de la Charité - Alice de Jeansin
 2021 : Je te promets (fr), French remake of US TV serie This Is Us - Florence Gallo
 2021 : J'ai menti - Audrey Barreyre
 2021 : Christmas Flow - Mel

Film
 2012 : 1789: Les Amants de la Bastille (Filming of the stage musical) - Olympe du Puget
 2015 : La Légende du roi Arthur (Filming of the stage musical) - Guenièvre
 2019 : Jusqu'ici tout va bien (fr) - Élodie
 2020 : Play - Fanny
 2021 : Spoiled Brats - Stella Bartek

References

External links

1992 births
Living people
Pop rock singers
People from Nord (French department)
Lou, Camille
French folk-pop singers
21st-century French singers
21st-century French women singers