Privatleben

It was the dubbed version that I saw of this dreary little story about an actress (BB) who finds out, as is almost always the way, that her internal happiness is a sacrificial lamb to fame. Certainly good-looking - with La Bardot at her most luscious how could it not be? - but never very compelling.

The ending is, however, notable for going waaaaaay over the top. (Has anyone noticed how many Brigitte Bardot movies have unhappy endings?)

One would have thought that Mastrioanni and Bardot would make 'beautiful music together'. However, this is mostly a self-indulgent treatment that could be part of the problem. Bardot's narcissistic behavior was either excellent acting or her real-life behavior.

I loved this movie for the beautiful scenes of Geneva and Spoleto, Italy. I've never seen how they do these wonderful operatic festivals and I really liked it. Georgeous technicolor. However, I could not find this movie reviewed in any of my review books: perhaps it's known by another name.

It is never clear what illness Bardot has in this movie....could have been a nervous breakdown, could have been flu, who knows? If you like looking at beautiful people, and georgous scenery, rent it. Otherwise, don't waste your time.

For the record, I saw the dubbed version. But for the first hour, there is so little dialogue, I don't think it could matter very much. This early Malle film spends so much time on Bardot's character's angst and yearning for her own time and space that you might be tempted to turn it off. Don't, but if you have it on tape, you may wish to fast forward. The second third of the movie is a never-ending cliche. As a reward, the ending is rich, vibrant, and celebratory.

After having seen Louis Malle "Crackers", we thought the director might have bad luck with that film, but viewing "Vie Privee", his 1962 effort that deals with fame and being in the limelight, one wonders what did attract him to get involved in this project. Granted, the dubbed English version that was presented recently on cable hasn't kept well and the translated dialog is horrible. The director collaborated with Jean Paul Rappeneau and Jean Ferry in the screen play, which might have made more sense in the original version that what it does in the one we saw.

The story about the beautiful Jill, who at first is seen as wanting to be a ballerina, changes without any explanation as this young woman is "discovered" for the movies, something that even for France, never occurs in such a quick fashion, and we can't buy it. Then at the pinnacle of her fame, Jill is thrown into despair as she can't cope with the invading horde of paparazzi that hound her and don't let her live a normal life. Jill runs back home to Geneva to be with her mother and then she turns into Fabio, who was seeing her best friend.

The film is tedious, at best. Marcello Mastroianni and Brigitte Bardot appear to be going through the motions, but actually there is no chemistry between them. These two attractive stars seem to have been cast just for their allure to fans, but actually they never connect.

Another reviewer mentioned nouvelle vague and it's true this film stinks of French New Wave. Of course the time was really the style's zenith when even boring pretentious garbage was treated like great art. Hard to take is the acting style that seems to come with the movement -very flat and anti-emotional - a little too Neo-realist for most tastes especially in America where actors tend to chew the scenery. Heck Tom Cruise apparently chews the scenery in ordinary life or at least on talk shows.

However I found there was a kind of chemistry and disturbing reality in Bardot's portrayal of the sex kitten. She was one moment almost catatonic and another bubbly. But how contemporary to see the star as a kind of trapped animal like a fox with dogs and hunters in pursuit. One could see this movie being remade with Brittany or another of the modern celebutantes in the starring role. Was Bardot playing herself? Well isn't that the kind of truth we look for in art? Malle could have been alluding to Marilyn or any modern celebrity caught in the maelstrom of fame. The relationship with Mastroanni seemed especially perceptive. He wants to protect her, but she wants to live and she can't. Certainly think Brittney could relate to this one especially to Jill's own mother selling her out to the press. We've seen that one lately, haven't we.

Not a fun movie but one that stays with you and that's rare these days.