Bonjour tristesse

A perfect gift! <3

Even if you didn't have a palatial Riviera rental or servant girls to goose, I think this captures some pretty relatable things about the thrills and hazards of idle summers when you're learning how to really fuck up. In this it is almost courageously slight for stretches, coloured by the perversity of the characterizations (rendered more vividly than in the novel) and buffeted by glimpses of a colourless future that, for all their lugubriousness, are done in quite a strange and interesting way.

This almost-French-New-Wave film really seems to be ignoring the origins of that awkward father-daughter relationship. I'm sure this story resonated with the jet set group that regularly vacations on the Riviera, but for those of us who go to a state beach, it all seems a little overwrought. Beautiful scenery. (Was Seberg the *original* Manic Pixie Dream Girl? This will make you wonder.)

One of the first films of the French New Wave style that I had ever seen! It really leaves an impression. Filmed very artistically, it really strikes a mood with part b&w and part color. A visual treat, with a great theme song and score that will stay with you long after.

Viewed December 5, 2016.

Star Rating: ★★★★

This movie didn't even make much sense to me. The daughter convinces herself she has broken up her father's romance and caused a tragedy, but giving herself credit for this seems like a child's self-aggrandizing fantasy. The father's fiancee certainly had been judgmental and bossy, so I can understand why the daughter would hate her. I didn't like anybody myself. Where others see ambiguity I see lack of any consistency or meaning in the events; the book must have been better.

A morose book is turned into a lively film which sparkles with the sights of the French Riviera and the sparkling screen presence of Jean Seberg and Mylène Demongeot. This simplified version of the story lacks the sublety and emotional depth of the novel, but as a fast-paced fling it's spot on. Really makes you feel like you're on summer holiday. The casting is great - with the exception of Deborah Kerr who plays Anne a bit too strict and doesn't seem like the goddess Anne should be.

Niven is priceless

Despite good chemistry between the leads there's a certain stiltedness to the performances that holds the film back. It, along with some of the directorial choices in tone, prevent the film from fully exploring the richer nuances of the setup. Apart from these hindrances, the dialogue is sharp and there's enough energy in the film to make it an enjoyable look at conflicted malaise. The slow unraveling of the characters made me appreciate both the strengths and weaknesses of the personalities.

watched: 2012, 2014

There's some interesting psychology at play in the film, especially as the daughter indulges in increasingly awful behavior to try and restore her preferred hedonistic life, but Preminger's cinematic sensibilities are a little too formal to allow the darkest, trickiest elements to come to forefront. It doesn't help that the youthful role is filled by Seberg in only her second onscreen performance. She's sadly wooden in the precise moments when insight and nuance is most needed.

Preminger transformed Sagan's incisive novelette into a masterpiece of ambiguity, with a piercing yet compassionate moral stance.

I've seen this a few times and while it certainly has it's flaws, it still captures something special about those easy summer days of youth that keeps me returning to it. I've also read the novel and while it's stronger and more serious, I'd say that both pieces compliment each other. The film adds some comedy which is a bit distracting, but it's quite daring for it's time, has a rather unique melancholic atmosphere and captures the beautiful Riviera scenery. Jean Seberg fits her role perfectly.