Entre Amigas

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.

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.

i liked this film. it has an ambigious quality about it, almost paradoxical. it has a feel of a documentary and is observational in nature, yet there is a obvious message or view taken by chabrol and the women in this film. they're doomed objects of desire for men. the women have this elusive quality about them, they're beautiful and somewhat misguided about the men in thier lives. they seem unattainable, yet vulnerable to a ominous unspoken danger that awaits them that is denoted by the music. there's this creepy yet mysterious sounding music that runs through the film when the female characters roam through the streets. and for some reason, all the men in this movie are misogynist jerks! they disrespect these women and believe they're entitled to them. yet, these women flirt with them and passively resist them for most of the film. chabrol lovingly shoots these women and has affection for them, but also sadness at their romantic naivety about the men in their lives that will bring them doom.

The film shows a weekend in the lives of four Parisian shop girls, from their Friday night out in the nightclubs of Paris through to a Sunday outing into the countryside. All four dream of escaping their humdrum existence: Ginette (Stephane Audran) is trying to start an alternative career as a music hall singer, Rita (Lucile Saint-Simon) is engaged to a shop owner, Jane (Bernadette Lafont) is wined and dined by two married businessmen, and Jacqueline (Clothilde Joano) falls in love with a biker who is stalking her. The monotony of the girls' lives is shown as they spend Saturday in the shop just waiting for the moment when they can go home. At the same time Chabrol shows a fascinating portrait of the city at work and at play. The storyline holds the viewer's interest, the acting is excellent (especially Lafont, and despite some terrible overacting from the girl's boss), and the director hints at some of the gruesome shocks of his later films.

Chabrol's career is often seen as moving from the naturalism of his early films to the extreme stylisation of his great mid-period. It's not as simple as that, but in 'Les Bonnes Femmes', Chabrol achieves a balance between the two that he has rarely equalled. The story of four shopgirls, their work and social lives, has all the plotless and poignant banality of realism, while the closing third, with its move from Paris to the country, its seducer-cum-motorbike-riding-devil (reg. no.: 666) talking about the Creator, as little schoolboys called Balthasar pass by; and its closing vision of Hell/Purgatory bespeak a more Cocteau-like world of mythology and religion. But there is Cocteau too in the framing of Jacqueline in the shop window, while Chabrol's filming of treacherous nature later on is uncommonly vivid. Although 'Bonnes' is his least typical film, it is also his most lovable, and seems to get richer with the years.