
To this day it is safe to claim that Bonjour Tristesse a film of 1958 is a pain in the neck for Hollywood. And for the fair reason that it is a film adaptation of a book written by a French teenager, this time directed by a rather controversial filmmaker. Otto Preminger and Jean Seberg suffered in silence about their marriage, in which she claimed “He used me like a Kleenex and then threw me away.” Now, grieve yourselves, since this time around we actually look forward to a rather more stylish approach, and ask the question; how different would the movie be if Sagan’s words and images were said and seen through the lens of a woman, a more poignant question would be how would it be when one is watching it?
Memories of the first trip to France as a kid are hazy and Chew-Bose understands that perfectly well, which is why he approaches this story as a mother recounting to her daughter rather sound comforting details such as how one can feel the sunshine of Cote d’ Azur on their skin, warm summer nights when one can stare into an ice pouch and feel a cool breeze, even the aftershave left by dad have quite the broader scents. It was absolutely Correct to hire a woman to shoot this picture, for there are such great moments that need to be filmed. Unfortunately, that is not the case for Ms.
Cecile bears a sense of childishness that we have yet to explore. And as Chew-Bose puts it ‘This is all rather muddled, to say the least. from there The new film will circulate for some time and pick up supporters here and there before disappearing without causing any harm to Preminger’s version.’
In the movie ‘The Square,’ Claes Bang is cast as Cécile’s father, a character alongside Elsa Nailia Harzoune whom he takes for a vacation in France. He warns Cécile, ‘You definitely need to appreciate the French movie set for its new look’. There’s another thing that doesn’t sit right with him. Cecile’s mother widowed her while in Jerusalem, and now, when there are too many women being introduced to her father, he becomes furious because her father calls an old friend of her mother’s, Chloe Sevigny, as the one he wants to marry the very next second. The blankness in Cecile regarding her father’s love for her seems to dissolve when she is told about Roy. In fact, his image very much suits the one she is attempting to construct. She is portrayed by Sevigny who truly does not market this idea. Cecile devises a plot from Parent Trap or perhaps some of Shakespeare’s works to create a rift between her father and her new stepmother.
In the film Jean Luc Godard’s ‘Breathless,’ Seberg states, ‘It’s not his fault he doesn’t love you. It’s your fault. You are ruined. And rebellious. And arrogant. And sluggish,’ while observing the reflection of an envious pixie blonde who was later cast in the movie. Seberg then proceeds to remark that the only flaw with this narrative is that it caters to a basic psychological interpretation. If Chew-Bose writes Cecile’s existence in such slicing, she seems however to miss without this kind of primitive psychological interpretation, begging us to understand the teenager in a manner in which bummer summer does not look like an alien tragedy, at the end. By teasingly; but for most of the part, it seems like a disappointment in the summer romance as the jingles which she brought sang our hearts.
This film has a lot of focus on having fun during those nice long breaks which are a little time lazy but even then have been skillfully designed by Maximilian Pittner. Still, even with some urban boredom, it cannot be felt thanks to the excellent work of Pittner. Cecile treats herself to a slouchy mustard-colored armchair, makes confident scribbles for her boyfriend which she then plastered his leg and arm with, and even jerks herself off. And Cécile feels herself as she spreads the butter on her breakfast toast. Even how she does it the manner alone will remain as something that is hard to forget.
Some will likely view Sofia Coppola’s remark to Chew-Bose ‘Pay attention to those feelings,’ differently. This view also knows within that something such as the imprints of “Call Me by Your Name” for instance sits inside Cécile’s first love and ultimately, her mature appreciation of her performance. But one of the most relevant images to this is Jacques Deray’s “La Piscine” which features Alain Delon and Romy Schneider by the pool about a decade after Preminger’s picture.
Comment: Here falls Chew-Bose in her true foolishness. Some would attribute her deliberate ignorance to a given issue as well but that is a different story altogether. There is no justification at all for a dream from the turn of the century the director includes her argument in history. Why has there been such a metamorphosis till now and of what is still left to be seen? Sagan’s book in many ways anticipated a revolution in the sexual sphere. Instead of the material that set the rhythm of evolution all around it, she now appears to look cool. In truth, Cécile’s more than modest gaudines, capitalized, ludicrous even to Cyril Aliocha Schneider were deeply shocking in such a rare chasm of plausibility.
Although we might turn our heads and scoff at the contemporary landmarks, it is crucial to mention that the film ‘Bonjour Tristesse’ seems to be like a fifties disruption a sweet break from the aggression sites of this period which is filled with monotony and an appeal of the classic era. Starting with the multicolored tiles which rather appear after the opening credits (Saul Bass’s ones in the original simply are unmatchable) to the old fashions such as what ‘Sevigny’ is spotted on her head with a couple of seconds of McInerny posing in retro swimsuits it’s hard to decipher what Anne stands for.
What on earth would anyone want to hire someone like Sevigny, a counterculture esquire, in the role of a ubiquitous all over the world society integrator saying codewords? It is an eccentricity in casting, rather like that of Luca Guadagnino to have added Tilda Swinton’s cameo appearance in the history of his remake ‘La Piscine’. Being entirely fascinated by such remarkable and eccentric stars, directors themselves do not comprehend for what reason they are less suitable for such tasks or that they directly disrupt the plot development that those directors intended in the films.
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