Bonjour Tristesse (1958)
Average Rating: 7.1/10
Reviews Counted: 21
Fresh: 18 | Rotten: 3
No consensus yet.
Average Rating: 6.6/10
Critic Reviews: 7
Fresh: 5 | Rotten: 2
No consensus yet.
Average Rating: 3.6/5
User Ratings: 1,589
Francoise Sagan's bittersweet novel Bonjour Tristesse is given a sumptuous Riviera-filmed screen treatment. David Niven plays a wealthy playboy, the father of teenaged libertine-in-the-making Jean Seberg. Seberg tolerates most of her father's mistresses, but doesn't know what to make of the prudish Deborah Kerr, who will not cohabit with Niven until after they're married. Feeling that her own relation with her father will be disrupted by Kerr's presence, Seberg does her malicious best to break
Jan 1, 1958 Wide
Dec 16, 2003
Sony Pictures Entertainment
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The final shot is one of the most convincingly grief-stricken in cinema.
Niven and Kerr keenly satirize their onscreen iconographies-the cad and the goody-goody, respectively-but it's Seberg who cuts deepest.
Otto Preminger's formally dazzling 1958 film is an edifice constructed of contrasts.
Script deficiencies and awkward reading -- some lines are spoken as though just that -- have static results.
The flirtation with incest at the centre of this adaptation of Françoise Sagan's novel is tame by modern standards, but the evil scheming of Seberg as the daughter set on separating her father and his mistress is still forceful.
Jean Seberg is as captivating as ever in Otto Preminger's newly restored 1958 drama.
Underneath the endless round of parties and nightclubs, there is a desperate, secret sadness, and Seberg's stare at the camera is haunting.
Contrasting the picture-perfect backdrop, Saul Bass' title sequence and Juliette Gréco's rendition of the title song add to the melancholy.
Misunderstood at the time and still underappreciated, this 1958 glossy melodrama improves on Sagan's French novella, displaying Preminger's best qualities as auteur, moral ambiguity, detached, nonjudgmental approach, not to mention smooth visuals.
Has a glacial tone that gets covered with a lobster red French Riviera sunburn.
Kerr, of course, is a standout talent in spite of script deficiencies, and Demongeot plays the role of a silly blonde well. The Riviera scenes are rich in eye appeal and Kerr's chic costuming by Givenchy adds another plus.
While some may be put off by Preminger's glossy presentation of the idle rich, his direction in Bonjour Tristesse engages the mind while it stimulates the senses.
Among favorite cinephile pet auteurs, no one's reputation has had a rougher ride than that of Otto Preminger's.
he overall ambiguity of the film and its refusal to make judgements mark it as ahead of its time, while the cast are first-rate, particularly Seberg, veering between impishly mischievous and spookily sinister.
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- Buenos días, tristeza (ES)