Un certain sourire

Francoise Sagan's novel, tailor-made for sunbathers on the Riviera, has been adapted into the kind of schoolgirl-romantic movie the book deserves. French law student in Paris, a petite lass with doe-eyes, meets her fiancé's family for the first time: his wealthy snob of a mother, her overly-solicitous daughter and the daughter's husband, a suave charmer with a seductive manner. This older man takes the girl for a walk alone in the garden and kisses her; soon after, on a secret date, he proclaims his love for her. Twentieth-Century Fox had high hopes for new discovery Christine Carère, French film actress brought to Hollywood to dazzle Americans audiences. She followed this picture later the same year with the musical "Mardi Gras", but audiences weren't smitten and it's clear why. Carère's English is thick and astonished-sounding, her smile flirtatious, her stare coquettish and knowing. It isn't clear how much of a flirt or a tease this girl is meant to be, but when her heartbreak comes and Alfred Newman's romantic music is poured over the images, it's clear we're supposed to be mad about her. Although Carère's performance improves in the film's third act, it would take a gallant screen lover to find her irresistible. Seasoned pro Rossano Brazzi tries, much to his chagrin. ** from ****

Here's a film that's boosted by its spectacular scenic splendor and a lovely title tune, A CERTAIN SMILE, sung by Johnny Mathis and immediately becoming one of his favorite hit tunes, which is about the only thing that will linger in your memory once the tawdry tale is over.

The simple story is a trifle (as all of Francoise Sagan's novels are), dealing as it does with the subject of flirtation and affairs. The affair is between a pretty young law student studying at the Sorbonne, CHRISTINE CARRERE, and ROSSANO BRAZZI, her Uncle Luc who is married to the sophisticated JOAN FONTAINE. Christine is also being pursued by a fellow law student, BRADFORD DILLMAN, but seems to prefer Brazzi's continental charm to callow youth.

Most of the trite story centers on the budding romance between Brazzi and Carrere, leaving Fontaine on the sidelines wondering what the glances between the two really mean. Does it really matter? She gazes with sophisticated charm at Johnny Mathis as he sings "A Certain Smile", all the while knowing that her husband is a philanderer.

It really has nothing new to say, but can be enjoyed on the basis of its CinemaScope grandeur and the performances of the leads, all of whom have done better work elsewhere and are pretty much wasted here.

Bertrand (Bradford Dillman) is engaged to Dominique (Christine Carère). He takes her to see his aunt and uncle (Joan Fontaine and Rosanno Brazzi) and almost immediately, the uncle puts the moves on Dominique...and she acquiesces. Something tells me that this isn't going to end well.

"A Certain Smile" is a romance which just didn't work for me. Part of it is because the 'romance' isn't exactly romance...it's a married man having an affair with an engaged woman. It's hard to like either because of this. The young lady isn't a particularly engaging character or actress. And, the man just comes off as some 'dirty old man' by the way he acts and comes on to her. Additionally, Françoise (Joan Fontaine) is an odd character...as I think she's supposed to be French but sure didn't talk as if she was French! As for Bertrand (Bradford Dillman) is also supposed to be French but sounds 100% American. Overall, a film which looks good but fell flat for me...though I can see some enjoyed it quite a bit.

Francoise Sagan's novels have all in my opinion suffered at the hands of writers and directors bringing her work to the screen. I even find the often praised Otto Preminger version of ' Bonjour Tristesse ' unconvincing, and like ' A Certain Smile ' suffers from uncertain casting. Only ' La Chamade ' made in French partly works in Sagan's favour despite again one poor actor nearly ruining it, and saved by Catherine Deneuve. But against all the odds against it I find ' A Certain Smile ' to be very watchable. Jean Negulesco catches the exterior's of Paris in the late 1950's well, and the film is worth watching for any Paris lovers. It is not the over polished Paris that we see now (I am talking of the centre and not the suburbs) and the sight of it caught at my throat with nostalgia. The sad news is that only one fairly to poor copy of this film seems to be available, and I cannot imagine why there is no decent DVD of it. Christine Carere has charm, but her tortured English is painful to hear. Rossano Brazzi was ill chosen, and looked rather bored as her older lover, and Bradford Dillman in his first role is very good indeed as Carere's ill treated boyfriend. And Joan Fontaine as Brazzi's wife is excellent, especially in the scenes where she confronts her husband with his infidelities. She is the most capable actor as she shows she has perhaps read the book closely enough to try to get to the heart of it. Despite perhaps justifiable criticism the film strangely works, and it is a shame that Christine Carere was not given more time in learning English, and those who decided to make the film should have realised that. She is good with the ending and that counts. And to repeat what I have said it is better than some other more worthy Sagan translations to the screen, and I could watch it more than once.

Attractive looking romance fails to fully engage, despite glorious landscapes, Parisian backdrops and a glamorous A-list cast including a memorable performance by an enchanting Joan Fontaine. Her apparently fading allure is causing her husband Luc (Brazzi) to philander, his attentions straying to the nubile Parisian college student Dominique (Carere). To add to the evolving interlude, Brazzi is Bertrand's (Dillman) uncle, who in turn is enamoured by Dominique, chasing her tail all over Paris in spite of her sometimes erratic and distant behaviour (although Bertrand himself might be a little overbearing and loose with the vermouth).

At the intermission, Johnny Mathis steps up to croon the title tune, and thus escalates Luc's affections for a playful Dominique, partially inebriated on the grape juice. Fontaine seems to suspect Luc may be straying, displaying some subtle gestures, her wisdom laboured over years of Luc's infidelity. The scene in which Fontaine emasculates Brazzi for his adultery, and the one in which she coolly chides Carere's naivety are among the film's dramatic highlights. In essence, Fontaine steals this picture with her mature, dignified portrayal of a woman scorned.

Carere on the other hand is lukewarm, the nuances of her character aren't conveyed in her stilted performance; Brazzi, at the opposite extreme, lays it on too thick, like some hormonal Latin lover crying rivers of guilt and remorse as he laments the mutual attraction as some kind of perverse affliction of which he can't be cured. Dillman, in his debut picture, offers some character depth, but ends up merely a tragic cuckold and bystander in this colourful melodrama. The remainder of the supporting cast (Franz, Locke and Livingston) are reliable if largely uninvolved.

Next to Fontaine, the French Riviera is the most attractive feature - the sets, costumes, colour and sound are all assets, but the dramatic tone never seems to sustain the right pitch. Tepid and a little overlong if however you still revere Fontaine, or pine for the Paris lifestyle, this glossy magazine cover might still be worth the time.