Douce violence

This is a totally worthless film. If you put together elements of Laclos, with a dash of De Sade and a Roman Catholic marriage, then you just about have it. I have had a copy for years and out of semi-isolation due to Covid-19 I decided to give it a try. The music is terrible, and as the film was made in black and white the Cote d'Azur does not relieve the monotony by giving it colour. Males of a certain type will like it for Elke Sommer and I admit that her Bardot imitation is worth a laugh. I saw it in French and the dialogue is pitiful. My simple request to anyone who has half a brain cell to avoid it. Needless to say the direction is terrible, giving a few cheap thrills of sexual titillation and violence. I hope France has put it in the dustbin of history where it belongs.

If this film was remade today, it would feature Paris and Nicole and other trust fund babies who spend their time in the clubs of LA.

As it is, it is European dilitantes we see with the young Elke Sommer. And, oh, does she look good with the wind blowing her golden blonde tresses in her tiny bikini. Only seven years old at the time, the bikini was made for Elke. Unfortunately, when your sure it came off, we get to see the coastline, instead of Elke.

Olivier (Christian Pezey) managed to get the top off, but chickened out with noble intentions before we got a peek.

But, the dallying changed to darkness as one member was chosen as a scape goat for a tragedy. One thought there might be something between Elke and Olivier, but neither could cross the bridge, and they ended up as expected.

One still bemoans the fact that these trust fund babies were not born in the current era when panties are left at home.

This early 60's French (dubbed) film is semi-interesting mainly because of the stunning presence of a 21 year old Elke Sommer. As the BAD good girl who uses her sexual presence to conform to the selfish philosophies of her group of disenchanted young people, she is fresh and beautiful. This intelligent and talented actress was never in the quality of films she should have been. The Leader of the groups looks like a cross between a young Rock Hudson and young Gregory Peck and is convincing.

A 4 out of 10. Many of these "exploitation" films of the 60's, especially black and white ones are interesting, but this one's only real qualities are Ms. Sommer's presence, the locales and the lifestyle of these young folks!

Max Pecas,as everybody knows in France,was a coarse comedies specialist ,the likes of the immortal "On Se Calme Et On Boit Frais A Saint Tropez ";here ,he desperately tries to sound "new wave ":all that you like (or hate ,depending on you ) is present: no screenplay (or almost),cult of youth ,Elke Sommer -then unknown in France ,used as a clone of BB- ,fortune- cookie philosophies,filming on location,rich kids who spends their time enjoying the Cote D'Azur ,burning yachts ,playing dangerous games a la "rebel without a cause" ,and finally getting to church on time .Pierre Brice,the male star ,failed in France but hit the big time in Germany where he is an icon.

There's only one good thing in this dreadful bore: Johnny Hallyday's title track ,a gorgeous ballad,which ,like the more famous "Retiens La Nuit",was written by Charles Aznavour and Georges Gavarentz,who were true artists.

Before cinematic vixen Elke Sommer made her big break in "A Shot in the Dark", she starred in several European exploitation flicks, including "Douce violence" (called "Sweet Ecstasy" in the United States). The plot centers on a young man getting lured into a group of good-bad people, of which Elke Sommer's character is a member. Naturally, she proceeds to seduce him. But, it does not end on a good note.

Of course, the actual plot takes a back seat to Elke Sommer's voluptuous figure. The whole movie could just be several shots of her body, and it wouldn't be much different. If you ask me, over the years, Elke Sommer hasn't gotten the credit that she deserves. Meow, meow...