Bonjour Tristesse (B+ or 3/4 stars)
Based on a salacious best-seller, 1958's 'Bonjour Tristesse' (directed by Otto Preminger) tells a woeful tale concerning wealthy, middle-aged playboy, Raymond (David Niven), his naughty/curious 17 yr. old daughter Cecile (Jean Seberg), & Raymond's refined old friend, Anne (Deborah Kerr). Accustomed to luxury, Cecile not only approves, but also encourages her father's (whom she actually calls Raymond) decadent lifestyle that involves incessant womanizing. They a life of privilege without any commitments, other than to entertain each other by engaging in fleeting romances. Shot in mournful black-&-white, the film opens in present day Paris, then turns to vibrant Technicolor as the narrative covers the sun-drenched previous summer, where Raymond & Cecile vacation on the French Riviera.
Raymond spends his days & nights with the ditzy-but-delightful Elsa (Mylene Demongeot), who's the latest in a lengthy line of transient relationships. Cecile has recently failed her school exams, but she, nor her father, really care. Lounging around, drinking, swimming, & running around the gorgeous Riviera setting, Cecile encounters neighbor Philippe (Geoffrey Horne), a good-looking young man who studies law and, before long, a youthful affair ensues. The idyllic summer changes, though, with the sudden arrival of Anne (Kerr), her father's old flame/Cecile's godmother.
Before long, Raymond ditches Elsa & announces his intention to marry Anne. Cecile doesn't mind at first, but when Anne begins establishing control over Raymond & endangers Cecile's carefree lifestyle (urging her to study for her exams rather than dating Philippe) ... she becomes both jealous & vengeful. As a result, Cecile schemes to split them up; leading to a startling denouement that leaves everyone forever changed. 2 major characters continue their lavish but empty lifestyle, all while realizing that their lack of moral fiber can lead to unexpected consequences.
Otto Preminger's (and his cinematographer) switch of color schemes is strong & revealing (the color palettes showing two disparate moods; also explaining the movie's title). With its depiction of the vacuous lifestyle of the rich, 'Bonjour Tristesse' is a film way ahead of its time; a film about the spiritual & moral decay of the decadent, but idle upper crust, and marked by a curiously dark mood & graver issues lying beneath the glossy surface; with references to incest & suicide.
David Niven & Jean Seberg are great as the hedonistic father/daughter. Even though he is morally corrupt, you can't help but to like the charming playboy Niven - relaxed; sun-bathing; not caring about anything. Jean Seberg didn't overly impress me with some of her line readings, but her impish demeanor & naive allure feels just right for her spoiled, brattish character. And the last shot of Seberg, staring sadly into a mirror as she applies cold cream to her face is very effective. Her face, in that moment, says more than any dialogue could. Deborah Kerr is superb in a rare Supporting role. In some ways, she's playing a type that she always has (and so well), but she injects a few surprises into the role & rivets the screen. Mylene Demongeot also brings some charm& nuance to Elsa, a very stereotypical blonde bimbo.
'Bonjour Tristesse' is a sneaky little film because - on the surface - it just seems like any other paper thin fluff piece. But as I said before, when you scratch beneath the shiny, glamorous veneer of luxurious locales, high fashion (costume designed by Givenchy, Cartier, Hermes), charismatic performances, pleasant musical score, & soapy melodrama ... you find a very interesting, melancholic, & sobering film that leaves a lasting impression; at least it does for me. Cecile somberly sums it the whole movie up with "I'm surrounded by a wall; an invisible wall of memories that I can't lose".
Raymond spends his days & nights with the ditzy-but-delightful Elsa (Mylene Demongeot), who's the latest in a lengthy line of transient relationships. Cecile has recently failed her school exams, but she, nor her father, really care. Lounging around, drinking, swimming, & running around the gorgeous Riviera setting, Cecile encounters neighbor Philippe (Geoffrey Horne), a good-looking young man who studies law and, before long, a youthful affair ensues. The idyllic summer changes, though, with the sudden arrival of Anne (Kerr), her father's old flame/Cecile's godmother.
Before long, Raymond ditches Elsa & announces his intention to marry Anne. Cecile doesn't mind at first, but when Anne begins establishing control over Raymond & endangers Cecile's carefree lifestyle (urging her to study for her exams rather than dating Philippe) ... she becomes both jealous & vengeful. As a result, Cecile schemes to split them up; leading to a startling denouement that leaves everyone forever changed. 2 major characters continue their lavish but empty lifestyle, all while realizing that their lack of moral fiber can lead to unexpected consequences.
Otto Preminger's (and his cinematographer) switch of color schemes is strong & revealing (the color palettes showing two disparate moods; also explaining the movie's title). With its depiction of the vacuous lifestyle of the rich, 'Bonjour Tristesse' is a film way ahead of its time; a film about the spiritual & moral decay of the decadent, but idle upper crust, and marked by a curiously dark mood & graver issues lying beneath the glossy surface; with references to incest & suicide.
David Niven & Jean Seberg are great as the hedonistic father/daughter. Even though he is morally corrupt, you can't help but to like the charming playboy Niven - relaxed; sun-bathing; not caring about anything. Jean Seberg didn't overly impress me with some of her line readings, but her impish demeanor & naive allure feels just right for her spoiled, brattish character. And the last shot of Seberg, staring sadly into a mirror as she applies cold cream to her face is very effective. Her face, in that moment, says more than any dialogue could. Deborah Kerr is superb in a rare Supporting role. In some ways, she's playing a type that she always has (and so well), but she injects a few surprises into the role & rivets the screen. Mylene Demongeot also brings some charm& nuance to Elsa, a very stereotypical blonde bimbo.
'Bonjour Tristesse' is a sneaky little film because - on the surface - it just seems like any other paper thin fluff piece. But as I said before, when you scratch beneath the shiny, glamorous veneer of luxurious locales, high fashion (costume designed by Givenchy, Cartier, Hermes), charismatic performances, pleasant musical score, & soapy melodrama ... you find a very interesting, melancholic, & sobering film that leaves a lasting impression; at least it does for me. Cecile somberly sums it the whole movie up with "I'm surrounded by a wall; an invisible wall of memories that I can't lose".