A young girl rescues a man from a suicide attempt. He turns out to be a sociopath, who begins to take over her life, abusing her both verbally and emotionally, yet she can't seem to tear herself away from him.
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Sophie, a flighty young model, learns that her boyfriend is planning to leave her for another woman. Sophie resolves to either win him back or assassinate her rival. A handsome doctor (who ... See full summary »
A liberated small-town girl and the family's black sheep moves to Paris with her sister, only to find herself standing trial for the shocking murder of her young lover. Was his killing premeditated or was this a crime of passion?
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In the prohibition years, the 'rumrunners' travel through the Caribbean Sea with the forbidden liquor barely escaping the ship patrols. While on the run, one of the bootleggers falls in ... See full summary »
When the Parisian bourgeois Geneviève Le Theil travels to Dijon to resolve outstanding subjects in the inheritance left by her wealthy aunt, she mistakenly opens the door of another room in the hotel, finding a suicidal near death on the bed. Later Geneviève goes to the hospital and is introduced to Renaud Sarti, the nihilistic alcoholic vagrant she saved. Geneviève falls in love for Renaud and brings him to her apartment in Paris, initiating a destructive, masochistic and corrupt relationship with the abusive man.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Geneviève Le Theil:
Why are you laughing?
Why such drama? You are a woman, a real woman, for the first time. That's a good thing. Dry those tears. Smile. It's no big deal. Why make such a big deal of your little self?
Geneviève Le Theil:
Why did you make fun of me?
I didn't. Let me explain: I laughed at your choice of words. You screamed, "I love you, Renaud!" I laughed because you called it love.
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While their short-lived marriage was long gone, this is the fourth of five Roger Vadim/Brigitte Bardot collaborations and only the second I've watched myself. After opening in a light comedy vein, this rather scrappy film turns into an unappetizingly ponderous melodrama on the lines of LA DOLCE VITA (1960), complete with a risibly "beat" orgy sequence and a surfeit of pretentious chat; nevertheless, the whole is somewhat redeemed by the attractive Italian locations in its second half and the nice musical score throughout.
For what it's worth, it tells of a bourgeois girl (Bardot) shortly to be married to an unassuming young man travelling from Paris to Dijon to hear the will of her late aunt, who accidentally stumbles on the suicide attempt of a bohemian, pulp-thriller-loving misanthrope (Robert Hossein) who, upon recovering, literally turns her life upside down. The cast is completed by James Robertson Justice (as Hossein's sculptor friend), Macha Meril (as Robertson's tramp companion) and, in one sequence, Michel Serrault as a notary.
In the end, the original title of THE WARRIOR'S REST sounds far more interesting that what's on offer here and the fact that I was misinformed about the film's running time I thought it was a good 22 minutes shorter! did not help to earn it much affection from my end. But, then, the sight of Bardot in her prime (and, Vadim being Vadim, in various stages of undress as well) is always welcome...
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