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It's high comedy. It's French bourgeois lifestyle. Louis Malle's delicate style of working with taboo subject matter reached a personal plateau with a dysfunctional household in "Murmur of the Heart", an early reach back into his own garden of memories and familial idiosyncrasies that he has stringently plucked from over the years. He approaches it with an innocent intent, cheeky, but still innocent nonetheless. Through the nostalgic and mean-spirited jibes at the domestic help, clergy and stiff-lipped crust of high society, it commences on a journey of an adolescent male, Laurent Chevalier (Benoit Ferreux) in Dijon, France circa 1954. He longs to break free to that stage of enlightened adulthood that seems just within reach but yet so very far. But within its pith, it's the very antithesis of melodrama. Taking on its inviolable subject matter's horns with both hands, it wrangles it to the ground while giving us something to think about. It's definitely not about exorcising ghosts of the past but to let them regale us with stories of unforgettable youth.

After 35 years, "Murmur of the Heart" still rings truer and closer to home than most contemporary comedies (and even dramas) revolving around the "coming of age" and "sexual awakening" in a young teen. It's also more daring and liberal in its construction of key family members being part of that very natural formation of sexual DNA and identity. They discuss philosophy. They discuss suicide. They discuss "The Story of O". Laurent and his 2 older brothers consort in disrespectfully petty behaviour contrary to what their upbringing holds sacred. Laurent's a top student, an intellectual that sees the world around him as a playground. It's a smalltime superiority complex as he defines his sensitive sensibilities with discernment beyond his years and a haughty disregard for divergent thoughts with a self-important air.

Revolving primarily about Laurent and his mother, Clara ("L' avventura's" Lea Massari), it's a refreshing look at a parental relationship based around adoration and fondness (coming under constant mocking by his brothers) than the contemporaneous and contemptuous notion of disdain and rebelliousness surrounding the authority figures and generational gaps. It underlines the idiom of a mother being her son's first love. In its essence, it encapsulates many complicated mother-child relationships including the emotional Oedipal issues that do crop up. And through that, a lovely parallelism is wrought with its interpretation of a woman who wants to be a girl and a boy who wants to be a man.

Conforming to an almost sitcom style, its self-dependent, autonomous scenes and situations just about start to border on farcical proportions. Its characters place sex and carnality high up on a pedestal, while Malle condescendingly films it as something so pedestrian and run-of-the-mill, not worth the hype and excitement over it anyway. He makes the patient, inevitable buildup to a key sex scene that had caused controversy when it was first released, to seem more natural and accepting than he does the sexual encounters that actually do seem the norm in society.

There have been a million coming of age stories in the history of the world, most of them probably in the film medium. What a pathetic thing to have to endure something as trite as the American film American Pie when something like The 400 Blows exists. Murmur of the Heart will remind most of that classic, and, akin to French films such as Zero for Conduct, The 400 Blows, and Malle's own Au Revoir Les Enfantes, it is excellently acted, both by the adults in the film and the children (here, though, they're teens), and it is infinitely more truthful than most American films of the same genre. Murmur of the Heart falls just short of The 400 Blows, but it is a worthy successor to it. Beware, though. This film's main theme is sexuality, and there are some very disturbing scenes, even thought the mood of the film is quite light-hearted. 9/10

This is one of my all-time favorite films.

Young Laurent Chevalier, his mother & his roguish elder brothers break every taboo known to small-town 1950s Dijon: underage drinking, underage sex, blasphemy, incest, petty theft, adultery, art forgery, whoremongering, drunk driving... What more can you ask? Malle treats their escapades with such lighthearted sympathy & wit you can't help liking them.

Before I first saw Soufflé au Coeur, I read a blurb for it in the monthly listings of my local repertory cinema that ran something like this (I quote from memory): "This film does a lot to restore the French to their former reputation for sophisticated naughtiness." I can't sum it up any better than that.

Touching coming-of-age story focuses on the youngest of three sons of a French gynecologist and his wife in Paris in the 1950s. Malle does a wonderful job of showing the relationships between the family members, helped by fine acting by all, particularly Massari as the beautiful mother and Ferreux as the gawky 15-year old son. As with Malle's "Pretty Baby," issues of sexuality are handled without hangups, even if it involves children. It is well known that one of the central themes of this film is incest but rather than being disturbing or exploitative, it is presented in a surprisingly tender manner without being judgmental.

Louis Malle perhaps has directed his most controversial film about Laurent and his complicated relationship with his mother. Because he is the youngest of three boys, he is still a virgin and coddled like the family baby. The film seems to last forever but in a beautiful moving way. We watch as his beautiful Italian vivacious mother seems to attract admirers even her own son. Without discussing the film's oedipal issues, the film has some very pleasant scenes and some that are not so pleasant. Maybe Malle is trying to bring reality of a young body's sexuality. His two older brothers are not the sympathetic or kind older brothers to him especially. Laurent is truly the film's most important character but his mother is definitely the most important figure in his life. As he comes of age, she has to grasp with losing him to another woman, the inevitable outcome of any mother-son relationship. We learn a lot about Laurent's mother too in this film. While sexuality is another theme in this classic film, there are touching scenes between the Laurent and his mother. As he finds himself attracted to other women, he becomes daring, insulting and even unlikable. I won't give away the ending of this film. But it's worth watching even today more than 30 years later, I cannot believe it's older than me. It seems like it could have been done today and that's why it's a classic film.