Bonjour Tristesse

This is a lovely film about relationships, in this case, somewhat complex relationships. Very well written, shot and performed. Gauzy romantic scenery in the South coast of France. Interesting character studies. All the actors do a great job, but Chloe Sévigny takes the most challenging role and executes it superbly, walking the line between likeable and not, loving and not, caring and not.

The plot line is fairly straightforward. It has a little twist that stretches things a tad, but is still believable and is certainly interesting and keeps our interest.

Interesting dialogue and captivating score.

Preminger's film is not a masterpiece, but it's very entertaining. This movie is dour and slow. Claes Bang and Chloe Sevigne usually sparkle; here they are just dull (at least for the first hour and a half).

In the first version, there was a weird frisson between David Niven and Jean Seberg that lent a hint of Greek tragedy to the proceedings. The pair in the new version look like they actually are at a Father Daughter Dinner Dance.

Dad's girlfriend in #1 was adorable teenager Mylene Dumengeot (sp?), here she is a far more appropriate mature woman. So a major plot motive is removed.

Points for lots of beautiful shots of people's hand doing things.

I would have rated this film higher if the director showed the audience what Anne sees. It's a key moment and we are left to rely only on the sound of voices of the people she sees.

Cinematography by Maximilian Pittner captures the southern France beauty of the rough coastal cliffs. The costume design by Miyako Bellizzi makes everyone look cool.

However, the story needed something more sensational or shocking to cause the twist. The scheming happens too subtly. Too abruptly we have changes in the relationships. Cécile's reaction is more boredom than sadness or jealousy. I was fascinated with watching actress Lily McInerny, who plays Cécile, but never sensed the rush of adrenaline from her character who was plotting the twist.

I give this two stars only for the beautiful cinematography and soundtrack.

The rest sounds like characters from one of those stupid American comedies attempting French sophistication. All which comes out is this eternally tired entitled tone which permeates the aforementioned films. Like Britney Spears reading Francoise Sagan.

I'm not even much of a fan of French cinema, therefore this isn't some jealous defence, but simply conveying the pain of having gone through this. The ending is particularly clumsy, missing the opportunity for at least some mystique.

Chloe Sevigny is one of the worst actors ever.

It is a slow moving film. That is the first thing you need to know about it. Part of that problem is a script that is too subtle in parts, and the result is that any invigorating action drains away. Cécile, for example, plots to get her father out of Anne's clutches; yet the attempt doesn't resound in the way that it should. Raymond is, all of a sudden, in love with Anne -- how did that happen?

Another problem arising from the script is the depiction of Elsa. She is, in the novel and in the earlier film adaptation, supposed to be flightly and vain. Not now. She comes across as the most grounded and sincere person in the film, and that throws the entire balance off. How could Raymond (who is supposed to be a playboy but is, here, depicted as a likeable, carefree man) toss her over for the stolid Anne?

And Chloe Sevigny, playing Anne, seems to be doing her best to channel Geraldine Page in Interiors (a part and a movie I loved). She's too old and matronly and clunky for the part. Put her next to Elsa and you wonder what's wrong with Raymond. And there is zero chemistry between the two. Nada. None. I think that Sevigny took the part because Anne is all about fashion and style, as is Sevigny in real life.

These problems aside, it's a lovely film to watch. While the three principals are dull, the supporting cast (Elsa, Cyril, and other minor roles) more than make up for it. The direction is stunning (though, yes, it could have been better edited, if only to move the proceedings along). Perhaps it might be a good idea to watch the original first (though I can't imagine David Niven as being anyone's idea of a playboy).