Amar é Minha Profissão

Gorgeous Brigitte Bardot is perfect as the mixed-up, spoiled young woman carrying on with an older attorney (Jean Gabin)who sets up her own fate. Mr. Gabin has always been a marvelous actor with a commanding presence at all times. Nice music and cinematography, but it's Ms. Bardot who makes it worthwhile. Beside her looks and sex appeal, her personality always shines through and she seems very comfortable on screen, even at a young age.

A 7 out of 10. Best performance = B. Bardot. You never quite knew where this film was going to end up, but it reaches a touching ending of closure for all concerned.

Almost 35 years before Sharon Stone in BASIC INSTINCT (1992), French actress Brigitte Bardot offered unexpected insights. Bardot fights with the weapons of a woman in a film actually titled EN CAS DE MALHEUR.

Together with a friend, the young Yvette (Brigitte Bardot) commits an amateurish robbery somewhere in Paris, just as the young English Queen Elizabeth is visiting the city on the Seine. An experienced criminal defense attorney (Jean Gabin) actually succeeds in using unfair means to help the devious Yvette secure an acquittal. Of course, the price must be paid. The criminal defense attorney quickly falls for the beautiful thief, which also has significant consequences for the lawyer's loyal wife (Edwige Feuillere) and Yvette's Italian lover (Franco Interlenghi). Even when the lawyer transports Yvette and a maid (Nicole BERGER) to the provinces, the problems don't stop.

At the height of her stardom, Brigitte BARDOT acts on a par with French acting legend Jean GABIN. Such a vibrant drama, full of corruption and sexual addiction, could only have been created in France in the 1950s. In German-speaking countries, audiences had to wait for the films of Rainer Werner FASSBINDER.

The supporting actors in EN CAS DE MALHEUR are also excellent. Edwige Feuillere (1907-1998) draws on all her Parisian stage experience. Nicole BERGER (1934-1967) is known from A GIRL FROM FLANDERS with the later Academy Award winner Maximilian SCHELL. Franco Interlenghi (1931-2015) had already played one of the shoe shiners in Vittorio De Sica's neorealist classic of the same name. He also played Telemachus, the son of Odysseus (Kirk Douglas), in The Voyages of Ulysses (1954), based on Homer's epic.

I have no doubt that every cinephile has his or her own favourite adaptation of the prolific Belgian novelist Georges Simenon. This is certainly one of mine. It is directed by Claude Autant-Lara whose last great film this was before his downward curve. Jean Gabin had long since ceased to play the underdog pursued by implacable fate and here gives a faultless performance as a well-heeled, world-weary and somewhat shady lawyer. Brigitte Bardot, in probably her best role, is the tantalising coquette with whom he becomes infatuated. Bardot herself was dismissive of most films in her career, understandably so, although I would be very surprised if this were one of them. The film is beautifully shot by Jacques Nattau with an excellent score by the director's favoured composer Rene Cloerec. Mention must be made of the divine Edwige Feuiliere, one of the greatest actresses of her generation. In one of her best film roles of the 1950's she is tremendous as the wife who turns a blind eye to her husband's peccadilloes. Her character's attitude typifies the thin dividing line between complacency and complicity. As one would expect from this director this is a well-crafted and deeply cynical piece about the frailties of human nature and is one of those films that really gets under the skin.

This is not a particularly well known movie among the anglophone crowd but it is definitely very advanced for its year of production, 1958. Yvette Maudet ("maudit" means accursed in French) as portrayed by Bardot is a constantly split personality that seems utterly unable to decide whether she wants the wealthy but old and not overly attractive Gabin or the young and handsome, but poor, Gaston. The way she enlists the services of Gabin as her lawyer is memorable and the scene so graphic and far ahead of its time that it was cut!

Curvaceous 22-year-old blonde Bardot is to die for but it is Gabin that carries the film with a masterly performance. Look out for Feuillere in role of Gabin's wife. She is apparently liberal and allows the affair to unfold and develop in the belief that her husband will eventually come back and she will remain in control of the marriage. Watch how she puts away her glasses when he comes into her bedroom so she looks more attractive to him... even though she knows she cannot compete with the much younger and voluptuous BB. Watch her loyalty to her husband as she sees him run after the mirage of young and callously carefree beauty, and she sees his business collapse and begin to affect her own life.

There is more: There is the extremely competent direction, an engrossing screenplay, and bewitching photography from director Autant-Lara and his team. It provides no happy end but this film has so much to offer that I can only encourage you to not miss it, dear reader.

Brigitte Bardot et amie invade a jeweler's shop and rob him. While they are doing so, a woman enters and complicates matters, so they knock her out. She may die. The friend is picked up, and Bardot heads to the well known defense lawyer, Jean Gabin. She has no money, so she raises her skirts. Gabin says nothing, gets her off, and then they begin an affair. Gabin is married to Edwige Feuillère. Bardot sleeps around, but says she loves Gabin, even as she has regular horizontal sessions with communist medical student Claude Magnier.

It's a last flare of Pepe Le Moko for Gabin. He's no longer the young criminal. He's older. He's solid. He's married, and Bardot is his last chance for.... if not love, then sexual obsession. Yet director Claude Autant-Lara is no poetic realist. The sexuality of his characters is not cloaked in symbols. It's Bardot walking around naked for a few seconds, it's Bardot and Magnier wearing the same sweater. To show they are linked.... and they must comment on it. There's no need for the audience to dig, it's all laid out for them, and as a result, it's less involving. The performances are great, but without the confidence of the director, there is no magic.