Les bonnes femmes

The 'overacting of the boss' mentioned in the previous comment is totally intentional! Chabrol is playing around with genres here, exaggerating for effect. He straddles the fence between comedy and tragedy for the entire film, veering this way and that whenever it serves his purpose: to paint an allegory of absurd modern existence through the soul of modern young females. The surreal modern music at the beginning clues you in, and the awesome final scene with the empty, tragic eyes of the girl finding her only happiness when a man asks her to dance brings it all together beautifully. Man! what a great film! I didn't want to leave the theater after watching it twice in a row, but I was too tired. As disappointing as Chabrol's films have been to me over the years, this one was a jackhammer of a surprise. The Hitchcock elements are there but they don't dominate and straitjacket everything else. On a level with "Breathless," "Shoot the Piano Player," yet completely unlike either of them, this film defines the "New Wave" aesthetic, which to this day, some forty years later provides a standard for Tarantino types to strive for. Films like these can only be directed by masters who have the nerve and audacity to bend genres to their whim and speak their ultimate truth through the nature of the medium itself.

Les bonnes femmes (1960), directed by Claude Chabrol, was shown in the U.S. with the title The Good Time Girls. The film depicts the lives of four Parisian shopgirls. (I guess now we would call them retail clerks, but in 1960 they were shopgirls.)

The women are all looking for romance, and they do no one any harm, but their lives are not filled with the glamor and excitement that the term "good time girls" evokes. They go to music halls, public swimming pools, and the zoo. They let men cruising by in cars pick them up. They stay out all night and stumble half asleep into work the next day. One of them is pursued and courted by a mysterious motorcyclist.

All four young women are attractive. Three of them went on to have important careers in the French cinema--Bernadette Lafont , Clotilde Joano, and Stéphane Audran. (Audran later married director Chabrol,)

Although Chabrol is a superb director, and the actors are talented, the film just didn't work for me. The young women had vacant lives, they had no aspirations or dreams of something different, and they had a naiveté that was sad rather than charming.

This is a movie worth seeing if you have a particular interest in the French New Wave, in Claude Chabrol, or in the young actors who were not yet major stars. I wouldn't seek it out as casual viewing. We saw it on VHS, and it worked well on the small screen.

Just to prove that portraying males as all-negative is nothing new, see Les Bonnes Femmes: the employer with wandering hands, the drippy suitor, his bossy Dad, the snobbish fiancé, the lurking psycho, the bad-jokes bully-boy and his fatty hanger-on, the absent lad on national service. Every one of them is no good. And yet the four shop-assistants are no better, they exist only for the men. Whatever the fellows throw at them, they're up for it. It's a chilling worldview, with a cynical twist at the end, (plus a tacked-on coda that seems to be from another movie). Along the way, there's some really hammy acting from the girls' employer that clashes badly with the realistic mood, and some longueurs as the girls get bored at work and we get bored right along with them. The young Bernadette Lafont is a joy, but she fades out in Reel Three when the lovely Clotilde Joano comes to the fore. Whatever happened to Clotilde? Her subsequent career was undistinguished, and she died at age 42. This is mostly a watchable slice of Paris life from the late 50s, although the Algerians who caused so much mayhem only a few years later are nowhere to be seen.

A friend of mine - a film scholar - once said that this film shouldn't work but it does. He was absolutely right. I cannot think of one good reason why this film should be as good as it is. The tone is observational, like many films of the "New Wave," but it lacks the frenetic energy of Godard, or the jaded lyricism of Truffaut. The tone of the film changes drastically at several points, and in any other film this would become a big turn off. But a strand of sincere honesty about the characters and their emotions holds the film together, stronger than any formality.

Let the film take you where it wants you to go, and the experience is wonderful.

The film's English title "The Good Time Girls" capture the essence of the film--four different women, working in a shop, moonlighting as they are not rich, and hoping to find a decent spouse. The shop itself presents the lecherous owner (who "keeps his distance") and an elderly cashier who hides her interest in BDSM (her fetish is a cloth dipped in the blood of a BDSM convict who was guillotined, with an insinuated relationship with a customer who asks her for money and gets it!), a beautiful Stephane Audran (moonlighting as a singer), and the attractive Clotilde Joano. And there is a murder, which hangs in the air without the outcome discussed further--one of the weak points of the over-rated film.