372 le Matin (Betty Blue) (37.2 Degrees in the Morning) (1986)
Average Rating: 6.5/10
Reviews Counted: 26
Fresh: 20 | Rotten: 6
No consensus yet.
Average Rating: 5.7/10
Critic Reviews: 10
Fresh: 6 | Rotten: 4
No consensus yet.
Average Rating: 4.1/5
User Ratings: 14,202
Jean-Jacques Beineix's Betty Blue stars Béatrice Dalle as the title character, a mentally unbalanced and sexually aggressive free spirit who becomes involved with Zorg (Jean-Hugues Anglade), a repairman moonlighting as a writer. The two engage in a variety of sexual encounters, and grow more passionate toward each other. Betty finds Zorg's book and is aggressively supportive; over time, her mental and emotional instability begin to catch up with her and drive her to the point of romantic
Apr 9, 1986 Wide
Oct 12, 2004
Renter No. 2
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A playful, meandering, somewhat confusing tale that hangs together as a portrait of demented love.
If Betty Blue feasts on the bodies of its leads, it's this director's cut that fully establishes the movie's artistic bona fides.
Curvy, ripe Dalle, only 21 at the time and in her first screen role, completely commits to the part.
The movie was colorful and swirling and oppressive all at once, and in 1991, Beineix recut it not to slim it down but to add a florid third hour.
Dalle, a model, makes a moving debut as the desperate baby-doll who fails to mold reality to her own conceptions of happiness. Anglade is more introvertedly affecting as the lucidly casual, but devoted Zorg.
If Betty Blue teaches us anything -- and there's a good chance it doesn't -- it's that life is full of little mysteries.
There can be beauty in tragedy, particularly when the key ingredient is the same in both
Rarely seen in this country in the intervening 23 years, Dalle gives one of the all-time-great performances as Betty.
Beinex's Oscar-nominated, quintessentially French amour fou tells of a love relationship that descends into madness, splendidly played by Dalle as the free-spirited troubled femme; one scene of self-inflicted violence is truly tough to watch.
Occasionally drags and meanders, but it boasts an impressive visual style and a radiant, charismatic performance by the ultra-sexy Béatrice Dalle.
Expanded to its intended length, the movie feels not like a failed narrative hastily washed in luridness but a purposefully meandering allegory of artistic frustration.
If Dalle never made anything of note again -- and she didn't -- then this alone would be enough to stake her claim as an icon of late 20th century cinema.
Beineix's film is awash with the humour and cool of his debut, Diva, but lacks the cohesion to sustain its weighty ambition.
Beineix's villagescapes and countryside vistas are hard to resist, and the dichotomy of a stone cold looney prancing around them only makes the tableau more curiously complete
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