Une vraie jeune fille

"A Real Young Girl" is a slice-of-summer-life flick which follows a 17ish school girl's sexual exploration during a summer vacation with her parents on their farm. A brave and visceral character study, this first outing for controversial auteur Catherine Breillat spends 90% of the run examining the fantasies, autoerotic experimentation, and eventual heterosexual encounters of the girl who seems sexually fascinated with all things liquid. Though the film's darkish undercurrents of sexual aberration do portend better things to come from Breillat, it is not particularly interesting as a stand alone piece. Circa 1976 with no apparent remastering, the audio/video quality is poor with color shifts and graininess. Not for those squeamish about graphic sexual content, this film should play best with those interested in psychosexual dramas (B-)

This is Catherine Breillat's directorial debut. She also wrote the screenplay from her novel published the year before.

One may be initially confused about the fact that it was made in 1976, but not released until over 20 years later. No, it is not a video nasty, but it was banned in France and only when films like Salo or Boise Moi got released, were we able to see this film.

Breillat is not for everybody. The sex in her films is in-your-face. You have to look at them with an open mind. They have an artistic value and should be seen for that.

The film, about a 14-year-old's self discovery stars voluptuous Charlotte Alexandra, who would later appear in Emmanuelle 3. She explores her body with the boredom and recklessness of a teen, and wonders about the studs that she comes into contact with. She fantasizes at times, even about her own father. It was just too frank for the censors at the time.

This is not for the trench-coat crowd, as there is no sex, although her father (Bruno Balp) sure acts as if he would be willing. His smiles and touches are most unfatherly.

The ending was both funny and sad.

Very internalized... ...like the subject matter.

Interesting topic; possibly even unique. But one portrayed in a meandering, long, and drawn-out manner that highlights the problem of French cinema- -being that most French films wouldn't pan out and be fully fleshed if released as two-and-a-half-minute pop videos.

Objectivity is something rarely seen in films nowadays; unfortunately, rarely seen anywhere in the media nowadays. But I'm not sure if this is an ethos that should be applied to film, because an engaging movie it does not make.

This is a type of film where reading the description of the movie is more thought-provoking and interesting than actually having to sit through it. To sum up, the film should have been titled "Une Vraire Vagin Pourri".

If the sexual awakening of a teenage girl wasn't already a heavily-subversive, abstract concept, then Catherine Breillat's A Real Young Girl can be viewed as one of the damnedest depictions of one of the most damning subjects in cinema history. Catherine Breillat's, who later became renowned her focus on the sexuality of a teenage girl, first film can be viewed as an unabashed masterpiece or a choppy piece of transgressive cinema depending on how you view it. The film possesses some very strong sequences, features a lead actress who is given so much to do and yet so little, and its approach is only odder and more convoluted the more you watch it.

There's a certain mysticism to A Real Young Girl, thanks to the way it approaches its subject which has been identified by some online reviewers as "surrealism." If I employ the term "surrealism," I stutter when trying to define what I mean. Surrealist cinema is one of the many undefined terms in cinema, right up there with mise-en-scene, and the only thing I can manage to conjure up for my interpretation is the use of shocking or ambiguous imagery mixed with a dreamlike effect. According to my own personal definition, A Real Young Girl fits right in under surrealist cinema, concerning Alice Bonnard (Charlotte Alexandra), a fourteen-year-old girl who returns home from a boarding school in France on summer break. She discovers her father has hired a young handyman named Jim (Hiram Keller), who Alice immediately takes a liking to. She begins having graphic sexual fantasies involving Jim, one of which has power to shock you raw and should not be spoiled here. Alice continues with these elaborate yet simultaneously choppy dream sequences, where she seems to hunger for the most explicit sex. Certain flashbacks even involve her masturbating in her younger years, with one scene in particular showing her utilizing a spoon for aid in masturbation.

Breillat is absolutely fearless here, constructing several fantasies in order to achieve a combination of shock and insight into the psyche of a teenage girl. It is this precise approach that has kept her a reputable French director even in modern times. Charlotte Alexandra only elevates this material, often utilizing blanks stares and fits of pleasure for added effect. Her character, however, is pretty vapid, not connecting with many other individuals and only living in this world of dizzying flashbacks and uncertain explicitness. One wonders how young Alice behaves at school and if these sexual tendencies continue in the crowded dormitories back there.

The biggest issue with A Real Young Girl is its greatest strength, which is its abstract depiction of the life of this young girl. The film is a handful, often incoherent, sometimes maddening, and occasionally boring as its artfully tries to obscure what exactly is happening on screen and sometimes leaving Alice behind in a film that directly focuses on her. Breillat has always been a director that leaves a great deal of contemplation on the viewer. Consider her later film Fat Girl and how its graphic, tragic ending could be interpreted in several different ways.

Now imagine that as the entire basis for A Real Young Girl; a film where every scene can be interpreted a handful of different ways. There's nothing wrong with ambiguity in a film, but when a film is predicated so much so off of the ability to deceive and play with the viewer, then its core idea and takeaway points become a muddle. The only thing I can think of is that this film is a showcase for the sexual awakening of a teenage girl in in explicit and heavily graphic form, but Breillat didn't go through all this trouble to make a simple showcase. There needs to be something more and the answer can only be found with either a second or third viewing or the exploration of several different analyses.

Starring: Charlotte Alexandria. Directed by: Catherine Breillat.

Catherine Breillat has gained, over the years, a reputation as a particularly provocative female writer - director, and she certainly lives up to that description right from this 1976 film, her directorial debut. Although there is nothing really new here thematically, what makes "Une Vraie Jeune Fille" unlike probably any other coming-of-age film up to that time is Breillat's almost microbiological obsession with touchable things and bodily fluids, including flies, eggs, trees, wax, blood, vomit....and others you can imagine. Charlotte Alexandra is voluptuous and sensual in the title role, but after a while the lack of script becomes painfully evident. ** out of 4.