Douce violence

Max Pecas,as everybody knows in France,was a coarse comedies specialist ,the likes of the immortal "On Se Calme Et On Boit Frais A Saint Tropez ";here ,he desperately tries to sound "new wave ":all that you like (or hate ,depending on you ) is present: no screenplay (or almost),cult of youth ,Elke Sommer -then unknown in France ,used as a clone of BB- ,fortune- cookie philosophies,filming on location,rich kids who spends their time enjoying the Cote D'Azur ,burning yachts ,playing dangerous games a la "rebel without a cause" ,and finally getting to church on time .Pierre Brice,the male star ,failed in France but hit the big time in Germany where he is an icon.

There's only one good thing in this dreadful bore: Johnny Hallyday's title track ,a gorgeous ballad,which ,like the more famous "Retiens La Nuit",was written by Charles Aznavour and Georges Gavarentz,who were true artists.

This early 60's French (dubbed) film is semi-interesting mainly because of the stunning presence of a 21 year old Elke Sommer. As the BAD good girl who uses her sexual presence to conform to the selfish philosophies of her group of disenchanted young people, she is fresh and beautiful. This intelligent and talented actress was never in the quality of films she should have been. The Leader of the groups looks like a cross between a young Rock Hudson and young Gregory Peck and is convincing.

A 4 out of 10. Many of these "exploitation" films of the 60's, especially black and white ones are interesting, but this one's only real qualities are Ms. Sommer's presence, the locales and the lifestyle of these young folks!

If this film was remade today, it would feature Paris and Nicole and other trust fund babies who spend their time in the clubs of LA.

As it is, it is European dilitantes we see with the young Elke Sommer. And, oh, does she look good with the wind blowing her golden blonde tresses in her tiny bikini. Only seven years old at the time, the bikini was made for Elke. Unfortunately, when your sure it came off, we get to see the coastline, instead of Elke.

Olivier (Christian Pezey) managed to get the top off, but chickened out with noble intentions before we got a peek.

But, the dallying changed to darkness as one member was chosen as a scape goat for a tragedy. One thought there might be something between Elke and Olivier, but neither could cross the bridge, and they ended up as expected.

One still bemoans the fact that these trust fund babies were not born in the current era when panties are left at home.

This 1962 film is a little bit "nouvelle vague," a little bit "La Dulce Vita," a little bit "Beach Blanket Bingo," and a little bit "Emmanuel." Fifty years after being made it is still lively, sexy as hell, and fun to watch. One has to remember that movies were still under censorship in 1962, so the scene where Elke Sommers takes off her top and allows Pierre Brice to squeeze her breasts really was daring and pushing the envelope at the time. Olivier (Christian Pezey)is a handsome coming of age brother of an actress. He gets involved with a gang of rich intellectual hedonists led by a political science professor named Maddy (Pierre Brice). They drink a lot, have philosophical discussions, casual sex, and play cruel games. They think of themselves as cynical and hip. Olivier is a romantic and wants to find a girl to marry and have children with. He's seduced by Elke Sommer who offers him sex, but not love. Who will win Elke's soul - Maddy, the cynic or Olivier, the Romantic? Well, you probably won't care much who wins, but Elke Sommer is radiant here and compares with Bardot, Andress, and Monroe in sex appeal. The movie is really an excuse for laughing with her and looking at her body for an hour and 20 minutes. This makes it a pleasant time to say the least.

Note that the meeting on the beach scene is quite similar to the meeting on the beach scene in "Dr. No." It is probable that Terrence Young (Dr No's Director) based it on this movie.

In the spirit of the old-fashioned "square-up" reels of early exploitation films, most of the sexy exposés of the early 60s, from Fellini to HG Lewis, presented -- at least superficially -- a morally critical, jaundiced view of the decadence they so willingly displayed. However, the doom-laden view of the wanton lifestyle in Sweet Ecstasy so overwhelmingly permeates the movie that it becomes little more than a depressing experience. Pecas never had the style or brashness of Benazeraf or Metzger, who dealt with similar themes. Elke Sommer, boosted as a Bardot clone, looks stunning and iconic, but completely lacks the charm and freebooting personality of her rival. And the big-band jazz music by Aznavour, with a few ditties by Halliday, now seem totally "square" next to the playful cocktail stylings of Chet Baker et al during the same period. Quite disappointing; the same team's Daniella by Night holds up a lot better thanks to its kitschiness.