La baby sitter

Artistically,it represents the lowest point René Clément was to reach:he was wise enough to call it quits afterwards.

René Clément 's career had begun to decline,slowly but inexorably,during the sixties.His best works ("les maudits","jeux interdits" ,"Gervaise" and "plein soleil") were made before 1960,that is to say before the nouvelle vague's explosion.

"Plein soleil"(1959)is a movie we must come back to if we want to understand Clément's evolution:his first thriller,and the first version of Patricia Highsmith's "the talented M.Ripley",it was completely successful(although it was not really faithful to the novel),and Clement could believe he was a potential Hitchcock .All his subsequent movies bar two will be thrillers.They all boast an American star:Jane Fonda in "les félins",Charles Bronson in "le passager de la pluie" ,Faye Dunaway in "la maison sous les arbres",Robert Ryan in "la course du lièvre à travers les champs" and Robert Vaughn in this one.Another thing is obvious:they 're getting worse and worse(the movies not the actors!) as the years go passing by:only the first one,with his plot à la Boileau-Narcejac ,is still watchable today.

From "le passager de la pluie" onwards,René Clément showed ludicrous metaphysical pretensions ,quoting Lewis Caroll in the movie mentioned above,trying to mix suspense and subtile hidden meaning:"la course du lièvre..." spreads its action over 140 boring minutes.He hit rock bottom with "la baby sitter" (which was the real French title,I do not know where they found "jeune fille libre le soir"):the plot is so confused it's sometimes impossible to understand it.It seems that Clement had in mind a movie about torturers and victims.His directing is ponderous and lifeless,the cast is mediocre (Maria Schneider who starred in "last tango in Paris",Sydne Rome),the suspense absent,and the plot has more holes than Swiss cheese.Unlike "plein soleil",do not bother to remake.

This is a great little thriller with some fine performances but I understand Leonard Maltin dumped on it upon its release and it seems to me a lot of folks have followed his lead. There is nothing wrong with this film at all. Granted it is confusing at the start (intentionally) but most exhilarating when we catch up with the events and discover just what a tangled plot we have here. I guess some are surprised and disappointed that the super Maria Schneider keeps her clothes on in this but we catch a glimpse of the equally beautiful Sydne Rome, so all is not lost. John Whittington is especially effective as the little boy and can only imagine how terrible this might have been had this been an American picture. No sentimentality then and possibly another cause for upset in that the interaction between he and Schneider is so adult. Robert Vaughn also appears and is very effective in aggressive mode. Compelling, amusing and thrilling. Sadly, Rene Clement's last film and perhaps we can thank Mr. Maltin for that.

From reading other reviews here it doesn't seem like this film has too good of a reputation. This surprises me. I found Wanted: Babysitter to be a very good crime-thriller. Having said that, I am not familiar at all with its director René Clément's other work. It appears from what I read that he was a renowned film-maker whose career was latterly panned by the critics. This film was his last offering and it seems to have suffered especially badly in this way.

I just cannot get behind the dislike though as overall I found the film to be very involving. I thought Maria Schneider was fine in the lead role and was ably supported by the likes of Robert Vaughn, Vic Morrow and Sydne Rome. The storyline is compelling enough and there is a fair amount of tension generated. The overall tone is gloomy and downbeat which is certainly in keeping with the film's French origins, seeing as 70's thrillers from that country seem to often be like this. Furthermore, the version of the film I watched was a public domain copy that was for some reason in black and white. I have no idea why this should be seeing as the film is clearly a colour production. It sounds like it may have been released this way for some obscure TV market perhaps. But whatever the reason, the funny thing is that the black and white presentation actually adds to the overall feel of the film. It only adds to the downbeat ambiance and very probably makes it a better film.

All I can say finally is that Wanted: Babysitter is nowhere near as bad as its reputation suggests. I would even go as far as to say that it is a good 70's thriller and is well worth checking out.

I was not disappointed by this last René Clément's film. It's an international cast, as he did for LA COURSE DU LIEVRE A TRAVERS LES CHAMPS, a couple of years earlier. Not a bad movie which the topic reminded me Yves Boisset's FOLLE A TUER. The nanny and the wealthy kid about to be abducted. Not a masterpiece but certainly not a garbage movie. You would not find such features now. Yes, it's a typical downbeat scheme, as we often saw forty years ago, especially from France. And not only. Good performances too, despite the fact that there was no great actors in the cast. It's also a rather rare film, hard to find and no often released even on French channels.

I love watching such movies from time to time, gloomy and so sad.

A young woman (Maria Schneider)is lured to a babysitting gig in a remote mansion by her treacherous roommate (Sydney Rome). When her young charge wakes up though, she realizes that he's been kidnapped and that she's being used as an unwitting front in the kidnapping. This movie was directed by a respected French director, Rene Clement, and is in black and white for some reason. It is a rather ridiculous melodrama, however, that doesn't really live up to its arty pretensions. On the other hand, people drawn in by its exploitative English title, "Wanted: Babysitter" ( I only understand the "jeun fille" part of the French title, but it seems pretty exploitative too) were probably pretty disappointed at its relative lack of exploitative elements. It was probably mistaken by many for one of the "sexy babysitter" movies of the era (i.e. "The Babysitter", "Weekend with the Babysitter", "Jailbait Babysitter", ad infinitum), especially with the Maria "Last Tango in Paris' Schneider in the lead.

I actually kind of like movies like this though that fall in the no-man's land between art and exploitation. The absurd plot kind of reminded me of an Italian giallo (although it's slow and subtle in a French way rather than delirious and over-the-top in an Italian). Regrettably--nay, tragically--Schneider has no nude scenes, but she's still pretty good. This is actually the third best movie I've seen her in after "Last Tango" and "The Passenger" (. . .well, actually I've only seen her in those two other movies). Rome does have nude scenes, and, surprisingly, she too is pretty good (I found her sexy but incredibly annoying in Polanski's "What?" and just plain irritating in the Italian anthology "Sex with a Smile").

This is a pretty unusual movie which I wouldn't recommend to everybody, but if it sounds interesting to you . . .