Goodbye Again

For better or worse, the book on which this film is based, Francoise Sagan's highly-touted French best seller, "Aimez-vous Brahms?" was a key document in the early 60's feminist awakening, depicting as it does a horrendous case study of gallic male chauvinism toward an intelligent and faithful woman. Despite the obvious soapiness of the plot, Bergman makes the movie version credible. Her soulful eyes and sad little smile enhance a lovable portrayal of the heroine Paula. Few other actresses of the time had the presence and skill to bring this off -- allowing us to fathom the almost tragic depth of the jejeune Phillip's fascination with a gorgeous "older woman" while avoiding the appearance of silliness which might have, but does not, taint Paula's irrational loyalty to Roger. In short, Ingrid probably set the standard for the many subsequent portrayals of more successful independent yet loving women. The rest of the cast helps too -- Montand's magnetism makes Paula's continuing love for the cad almost believable and, for once, Anthony Perkins' stereotypical "spoiled rich boy " portrayal is right on target and his infatuation convincing.

This film has alot of good qualities, but the length and the miscasting of Anthony Perkins really drag the film down from a great rating. I think the film would've been much more effective at about 100 minutes. So much of the second half of the film should've been edited out, because of redundancy and because the scenes don't add much to the story. And about Anthony Perkins, he's just so unbelievable as Ingrid's lover. He's too skinny and just doesn't have the magnitism required to realistically draw her away from Montand, no matter how disenchanted Ingrid is. One wonderful surprise is Miss Carroll's performance. She simply shines in her one scene as a nightclub singer. What a great voice! Bergman is still so gorgeous, and Yves is perfectly cast as the straying boyfriend. 6 out of 10.

Wow! what a film! I cannot believe I never saw this movie until this evening.

Great performances by all. The script is perfect in my opinion. The cinematography by Armand Thirard is simply beautiful; giving a real Parisian early 60's Be-Bop nuance. Auric's film score is great. Ingrid is in excellent acting form & stunning. Yves plays his character very close to the vest which is exactly how this kind of personality needs to be played. Diahann Carroll is so beautiful & cool as the nightclub singer. Jessie Royce Landis is wonderful as Perkins' mother. I've only seen Anthony Perkins in 3 other films & he in my opinion is always excellent. He was obviously a very intuitive actor & so very gorgeous & I think his incredible looks may have hampered others from seeing his incredible acting talents.

What else can I say without giving away this magnificent story? A must see for all young girls. The ending scene is so moving I couldn't even cry although I understand why so many other viewers wrote that this is a movie where you need to have plenty of tissues handy. It was a shocking film for me to watch on so many levels because it offered exactly what you expected & then it didn't - too true to life in a most poignant way. Heart wrenching - a definite must see.

Ingrid Bergman's excellent performance is what makes this film. She sincerely deals with the problem of September love; I've never seen her more beautiful or more committed. Anthony Perkins as the young spoiled mama's boy is excellent, and the scenes with the two of them are very believable. (It's called acting) Yves Montand is terrible---he's longing to be speaking in French. The scene at the end between Bergman & Perkins from the top of the stairs could move a stone to tears. Only Bergman could convincingly pull off a perfect soap opera--there will never be anyone like her.

Part way through I found myself wondering why I was still watching the movie. It was nice to see Ingrid Bergman 20 years after making Casablanca, but I just couldn't care that much about her dilemma in this film.

One major detraction is Anthony Perkins. He has no business being in this film. I know he belongs in 'Psycho', but I don't think he's a fit as Bergman's younger lover.

What's great though is the many outdoor shots of Paris in the 60's. The automobiles. Wow! Really great street scenes, night shots of Paris, and again, those goofy looking cars.

And then there's that knockout Jocelyn Lane. She's doesn't last the duration of the film however, and that's really too bad.

So in essence I'm recommending the first third of this film.