★ 6 / 10
Just too quiet
bob998
I admit I had to check the listings once or twice to verify that this wasn't a Bresson film: the lack of involvement as the actors delivered their lines seemed…
I admit I had to check the listings once or twice to verify that this wasn't a Bresson film: the lack of involvement as the actors delivered their lines seemed to be Benoît Jacquot's way of paying tribute to the master. Therese Liotard has never been quieter, playing the bedridden mother. Judith Godrèche as the daughter hardly ever cracks a smile, even though there are some funny moments in this very short feature.When Mom asks Beth to go to the doctor's house for the medicine, she knows she's the sexual prey, yet the idea doesn't seem to affect her one way or the other. I really wanted to know what was going on behind that slender, pretty face. The encounter with Alphonse, the knife fetishist, should have perked her up, instead she goes to sleep. I sympathize with all the viewers who complained about the lack of passion in the storytelling, it got me down too.
★ 8 / 10
Parisian girl leaves adolescence behind
DennisLittrell
This is a charming little film made in the agreeable French tradition of Vadim, Techine, Kieslowski, et al, in which the film itself reflects the director's…
This is a charming little film made in the agreeable French tradition of Vadim, Techine, Kieslowski, et al, in which the film itself reflects the director's adoration for its pretty young star. In this case we have Director Benoît Jacquot adoring Judith Godrèche, who plays a poor but principled 17-year-old Parisian girl disenchanted with her life, in particular with the choices she has in males. Her boyfriend tells her she should sleep with somebody ugly. Just why isn't clear. He is referred to as 'whatshisname.' She meets an interesting man, Alphonse, played by Marchel Bozonnet, but he is too old for her and, at any rate, still enamored of another. And certainly she doesn't want her mother's lover, referred to as 'Sugardad,' who is in his sixties.Godrèche herself is as natural and unself-conscience as a child. Dressed mostly in thin house dresses that cling lightly to her body, she displays the clear eyes, the clean jaw line and sculptured arms of youthful innocence. The camera adores her face and stays with her throughout. Clearly she is good and good to look at, but I would not say she is as enchanting as Krzysztof Kieslowski's Irène Jacob (La Double vie de Véronique (1991); Trois Couleurs: Rouge (1994)) nor as talented as Juliette Binoche in Andre Techine's Rendez-Vous (1985). And of course not nearly as sexy as Brigitte Bardot in Roger Vadim's And God Created Woman (1957).But comparisons are odious. This is a good film in its own right. The treatment suggests a short story from a literary journal, original, with quiet, unexpected tableaux of daily life leaving one to ponder. The climax appears without one's knowing it until the film begins the closing credits and then one understands what happened. There is a dark symbolic element throughout suggesting the bondage to the material world that comes when a girl is no longer a child.Vietnamese-French actor Hai Truhong Tu is excellent in a small part as Godrèche's Chinese friend.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
The Disenchanted; another look at French youth.
taproot
This is one of Director Benoit Jackuot's ("A Single Girl"-1995) earlier films. It's another look at his appreciation of female beauty and the perils of…
This is one of Director Benoit Jackuot's ("A Single Girl"-1995) earlier films. It's another look at his appreciation of female beauty and the perils of Parisian youth. Beth (Judith Godreche) is a seventeen year-old student with a younger brother and a sick mother. We never seen the mother leave bed. They are poor and survive by any means, although their main support comes in the form of a check from an older man - a former lover of the mother we assume. Beth's boyfriend challenges her to sleep with an ugly man; she takes up the challenge as the film begins. It then winds its way to the inevitable conclusion, but her relationships never entirely let us down. Like the French poet, Rimbaud, she too at a young age begins anew.
6.1/10
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