Les bonnes femmes

Just to prove that portraying males as all-negative is nothing new, see Les Bonnes Femmes: the employer with wandering hands, the drippy suitor, his bossy Dad, the snobbish fiancé, the lurking psycho, the bad-jokes bully-boy and his fatty hanger-on, the absent lad on national service. Every one of them is no good. And yet the four shop-assistants are no better, they exist only for the men. Whatever the fellows throw at them, they're up for it. It's a chilling worldview, with a cynical twist at the end, (plus a tacked-on coda that seems to be from another movie). Along the way, there's some really hammy acting from the girls' employer that clashes badly with the realistic mood, and some longueurs as the girls get bored at work and we get bored right along with them. The young Bernadette Lafont is a joy, but she fades out in Reel Three when the lovely Clotilde Joano comes to the fore. Whatever happened to Clotilde? Her subsequent career was undistinguished, and she died at age 42. This is mostly a watchable slice of Paris life from the late 50s, although the Algerians who caused so much mayhem only a few years later are nowhere to be seen.

A friend of mine - a film scholar - once said that this film shouldn't work but it does. He was absolutely right. I cannot think of one good reason why this film should be as good as it is. The tone is observational, like many films of the "New Wave," but it lacks the frenetic energy of Godard, or the jaded lyricism of Truffaut. The tone of the film changes drastically at several points, and in any other film this would become a big turn off. But a strand of sincere honesty about the characters and their emotions holds the film together, stronger than any formality.

Let the film take you where it wants you to go, and the experience is wonderful.

i liked this film. it has an ambigious quality about it, almost paradoxical. it has a feel of a documentary and is observational in nature, yet there is a obvious message or view taken by chabrol and the women in this film. they're doomed objects of desire for men. the women have this elusive quality about them, they're beautiful and somewhat misguided about the men in thier lives. they seem unattainable, yet vulnerable to a ominous unspoken danger that awaits them that is denoted by the music. there's this creepy yet mysterious sounding music that runs through the film when the female characters roam through the streets. and for some reason, all the men in this movie are misogynist jerks! they disrespect these women and believe they're entitled to them. yet, these women flirt with them and passively resist them for most of the film. chabrol lovingly shoots these women and has affection for them, but also sadness at their romantic naivety about the men in their lives that will bring them doom.

Claude Chabrol made a film before Les bonnes femmes, Les Cousins, which is what made him known as part of the French New Wave (he preceded Truffaut and Godard by a year). But viewing Les bonnes femmes before seeing Les Cousins, I almost feel like this is a director's first film, for a director like Chabrol, as it shows a lot of his concerns as a filmmaker: an observational stance with women, their sexuality and their distance from the opposite sex, the mundane in a bourgeois life, and the Hitchcock angle of danger and the unknown. It's also in line with the other Nouvelle Vague films in the sense that the filmmaker has broken out of any ties to a studio or sets, and everything is out in the streets or on location in places like nightclubs and music halls and swimming pools, and usually with hand-held cameras and (seeming) improvisation with the actors. This is a gritty, on-the-streets Chabrol one isn't used to from seeing films like This Man Must Die and The Butcher.

And yet I don't know if I can say it's as great as the big early films of the period like The 400 Blows and Breathless. Chabrol's film does carry, I'm sure, some personal weight. And he's interested in these girls, their casual life and goings-on, and how so easily one of them can be lured by a mysterious man in a mustache who follows them around in a motorcycle. But it's such a loosely structured film- barely a plot, even less, if you can imagine, than Breathless- that it takes a moment for us to realize something is going on. Which perhaps is part of Chabrol's angle here: like Fellini's film I Vitelloni, we're just watching these four girls in their everyday occurrences, going to a zoo, going to a nightclub and hooking up with two (obnoxious) strangers, going to a music gall where one of the girls is secretly singing and doesn't want to go on for fear of embarrassment of the others seeing her, and just walking around. Or, as well, the complacency of working at a TV store where no one comes in.

We are drawn in to these girls and who they are, however limited they're really shown as full characters (more-so Chabrol is interested, I think, in these girls as 'types' possibly, or in looking at them in a semi-documentary perspective). And metaphor is used from time to time; I'm sure the visit to the zoo, and Chabrol's carefully timed and composed reaction shots of the animals in the cages, is deliberate as to the girls' own self-prison of 20-something frivolity. And there's also the matter, again, of the motorcycle guy, who somehow charms this girl. Actually not somehow, as in this sort of Nouvelle Vague film-world it's precisely the kind of guy a girl would fall for, even one seemingly so uptight as the one he goes after. Seeing how this plays out between them can go one of two ways, and how Chabrol shows it in the last fifteen minutes is totally masterful. There's a sense of the inevitable, but he keeps us uncertain as an audience, which is good. I'm glad I couldn't quite see where the ending would go, though when it came it made sense and was satisfying (it even raised up the worth of the film overall a full notch).

But a masterpiece? Probably not. It's like a breezy fling through a Parisian quarter, on the dark streets and cool nights with beautiful girls and not-so-beautiful but flirty men, and it has some wonderful moments. It just doesn't add up completely into something that makes you want to shake your friend up and say "You MUST watch this!" like 400 Blows, or even The Butcher.

Les bonnes femmes (1960), directed by Claude Chabrol, was shown in the U.S. with the title The Good Time Girls. The film depicts the lives of four Parisian shopgirls. (I guess now we would call them retail clerks, but in 1960 they were shopgirls.)

The women are all looking for romance, and they do no one any harm, but their lives are not filled with the glamor and excitement that the term "good time girls" evokes. They go to music halls, public swimming pools, and the zoo. They let men cruising by in cars pick them up. They stay out all night and stumble half asleep into work the next day. One of them is pursued and courted by a mysterious motorcyclist.

All four young women are attractive. Three of them went on to have important careers in the French cinema--Bernadette Lafont , Clotilde Joano, and Stéphane Audran. (Audran later married director Chabrol,)

Although Chabrol is a superb director, and the actors are talented, the film just didn't work for me. The young women had vacant lives, they had no aspirations or dreams of something different, and they had a naiveté that was sad rather than charming.

This is a movie worth seeing if you have a particular interest in the French New Wave, in Claude Chabrol, or in the young actors who were not yet major stars. I wouldn't seek it out as casual viewing. We saw it on VHS, and it worked well on the small screen.