Ormai sono una donna

I really love films such as Beau Pere. When you read the description of the film (a man in his 30's has a love affair with his 14-yr. old stepdaughter after his wife dies), you kinda think that it's going to be a study about some middle-aged pervert engaging in immoral acts of both incest and pedophilia and that in the end the movie will be some kind of moral tale about the evils of such behavior.

But surprisingly, the film engages you, and paralyzes your initial judgements. It pulls you into its world and somehow you become fascinated by the 14-year old girl and slowly begin to sympathize with the stepfather. The performance of Ariel Besse is so beautiful. She has a matter-of-fact way of dealing with the world, in love, sex, relationships, etc.. She doesn't try to be cute (refreshing) and overly charming. As the movie progresses, she seems to have aged before your eyes, (though physically she remains 14). and suddenly, concepts of right and wrong become blurred. I've often read that in the artistic tradition of the French, the concept of morality does not deal specifically with what is right and wrong, persay.. but what is right and wrong as life is lived. Morality comes in the decisions you make as you live it, not as a pre-condition. It's hard to explain... but as the great french director Renoir once said......everyone has his reasons.

P.S. I wish Bertrand Blier would make more movies. The subjects in his movies such as this and others made over 20 years ago (Les Valseuses, Get out you Handkerchiefs, Too Beautiful for you, etc..) would shock people even by today's standards. But because he gives so much humanity to his characters, these taboo subjects can be seen in a different slant... and essentially isn't that what film, or art for that matter, is really all about.

When a woman is killed in a car wreck, she leaves behind a husband and a daughter by an exhusband who become the center of gravity of the film. As the step father and beautiful 14 year old nymphet share their grief under the same roof, the girl reveals an uncommon maturity as she insinuates herself into the step father's life by taking on her mother's responsibilities and demanding her place in his bed. What follows is an unemotional, matter of fact, tastefully presented tale of two people whose familial love morphs into something more as they grapple with all the issues which come with their extraordinary and taboo relationship. "Beau Pere" aims for the head and ricochets off the heat but leaves the crotch alone. Not "Lolita" and not a film about pedophilia or seduction, this flick should be an interesting watch for anyone into films about atypical romantic relationships. (B+)

"Beau-Père" is not a skin flick, though the cover of the DVD and VHS would make you think otherwise. Yes, it's about a very taboo topic, to say the least - the sexual relationship between a 40-ish piano player and his 14-year-old stepdaughter - but the great Bertrand Blier, who explored similar territory in "Get Out Your Handkerchiefs" eases the unease by doing the unthinkable and turning the movie into a screwball comedy.

Well, that's what we think, at first. Remi (played magnificently by Blier favorite Patrick Dewaere), not unlike Humbert in Nabokov's "Lolita" tells us of his tragic plight; after his wife dies tragically, he is left with his stepdaughter, Marion (Ariel Besse). Uncomfortable with the new rift in the household, Marion childishly assumes the "mother" role and takes on all motherly duties - including seducing her stepfather. Remi refuses, but there is danger lurking in Marion's pubescent body and puppy-dog eyes. Not realizing this danger, he eventually gives in.

Of course, giving into his stepdaughter is a mistake that plunges both Remi and Marion deeper and deeper into misery. Even Marion's real father suspects a mutual sexuality between them and, in one of the film's more heartbreaking moments, completely dissolves his obligation as a father and OKs the incestuous affair. Remi and Marion, then, are not so much connected by their sexual bond, but by the fact that they've both been abandoned by the people they love. There's no real question about where the affair is going, but the tragedy lies in who gets hurt the most. The final image of the movie may haunt me forever.

The movie is obviously not for all tastes, but it should be said that the sex is never gratuitous. In fact, it seems almost distracting when compared to what Blier really wants to get across - the divide between adolescence and adulthood and how seemingly frivolous sexual encounters can ruin lives forever. And, like "Hankerchiefs", the movie somehow provides some truly funny moments. "Beau-Père" is Bertrand Blier's masterpiece and a film that should be seen by all connaisseurs of intelligent, challenging cinema. 10/10

Patrick Dewaere was a wonderful comic actor (see him in Les Valseuses), while Ariel Besse was rather, er, young. Realistically young. I'd have liked this film even better if I hadn't had to endure the horrible dubbing into English (especially for Ariel Besse's character).

A gorgeously photographed and steamy tale of forbidden passion.

Boasting a superb lead performance by Patrick DeWaere as a young Frenchman battling to stifle the seductive advances of his breathtakingly beautiful step-daughter, it is grounded by fascinating character detail and an intelligent, focused script that is deeply interested in the complexities of love and desire.

Ariel Besse is the step-daughter and she is a bubbling, nubile cauldron of curiosity and mischief.

Sacha Vierny's moody photography is worthy of a coffee table hardcover and Philip Sarde's score is perfection.

A delicious, provocative, mature tale of sexual politics.