Portrait d'une enfant déchue

Dud story about a fashion model falling apart is given such a handsome, chilly look, precise editing and lovely music passages that one is nearly tempted to call "Puzzle of a Downfall Child", at the very least, half a success. Still, Faye Dunaway isn't charismatic enough to carry the weight of a leaden character portrait, one wherein the heroine feels her soul fragmenting yet also questions whether she still possesses a soul to lose...or perhaps never had one to begin with (she is a lapsed Catholic, after all). Dunaway's model (with the self-made-up name of Lou Andreas Sand!) is flashing back on her career while an ex-paramour and colleague tape-records her shallow reminiscences of bitchy, badgering photographers and lovers. Her earliest memories (particularly her first modeling assignment posing with an unleashed falcon) are quite vivid, but there's no substance or self-effacing humor in Carol Eastman's screenplay (penned under the alias of Adrian Joyce). Director Jerry Schatzberg, who worked on the original story with Eastman, allows Dunaway too much room to wail and wither and carry on, and after awhile she's as isolated from us as she is from her work. Adam Holender's cinematography and Michael Small's music are each exquisite, and Evan Lottman's editing also deserves praise; however, these attributes are in the service of a barren melodrama so removed from reality that the episodes are practically devoid of anything interesting. It's almost as if that's the point. *1/2 from ****

Directed by a real fashion photographer Jery Schatzberg to telling the ups and downs of a famous model, it became a hard endurance even to most self-denying cinephiles on so slow pacing and boring offering, it didn't catch the audience at its period of time, even rising movie star Faye Dunaway, when she often raised corpses from the graves over such loveliness, still if the viewer has enough forbearance, he shall be awarded by great and moving outcome.

It's featured as several past recollections of punctual events, whether it's sad or happy on countless flashbacks, conceived as art-movie it has a stellar casting as Roy Scheider, the unforgettable Viveca Lindfors with a strong European accent, Barry Morse and the upcoming star Barbara Carrera in smallest role, it somehow exposes the hard and stiff environment whom the fashion model should be entering in distress soon or later.

Also points out a frailty of human being in in question as the Faye Dunaway magnificent portraits, an insecure girl surround by strongest pressure, love affairs and so for, a non-romanticized lifetime of a model, waiting for the final quarter, it will pleased you plenty, get ready to there!!

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First watch: 2024 / How many: 1 / Source: DVD / Rating: 7.

Fashion model Lou Andreas Sand (Faye Dunaway) struggles with work and life. She struggles with relationships, with men, and with sex. She struggles with loneliness and with mental breakdown.

It's all about Faye Dunaway. It's a character study. It's well-made. Faye is bringing the same damage as she will in Chinatown. She's magnetic.

Faye Dunaway has always been my favorite actress and this movie provides a great showcase for her talents. She plays a very neurotic model who cannot even trust her own memories. The movie is done in a non-narrative style that was fairly common in the 1970s, with events shown out of order, and that device is used very effectively to portray the protagonist's instability. This is one of the overlooked movies from a period that produced many great and challenging films; I don't believe it's ever even been on video.

For the life of me, I can't figure out why someone doesn't put this film out on DVD or video. Puzzle of a Downfall Child is a hauntingly spare film about the breakdown of beauty. Although less well known than The Panic in Needle Park, it is Jerry Schatzberg's masterpiece. His use of non-linear storytelling coupled with some incredibly dreamy flashback sequences made me feel as if, like heroine Lou Sands, I too was coming slightly undone. For Faye Dunaway fans (and really who isn't a fan of Faye's?), this film showcases not only her incredible beauty--the eyelashes are to die for--but also her talents as an actress. She is more believable as an actress portraying a model than any model portraying an actress could ever hope to be. If it should ever make its way to an art-house near you, you will do yourself a disservice if you miss it. After I left the theater, I kept thinking of that trite adage about how they don't make them like they used to.