Les Bonnes Femmes (The Good Girls) (1960)
Release Date: Jan 1, 1960 Wide
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Average Rating: 3.8/5
User Ratings: 924
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Movie Info
The four young women work at the same place and each has to put up with a lecherous supervisor who talks out of one side of his mouth about good morals while the other side has the opposite message. One of the women, Jane (Bernadette Lafont) fixes herself up in a somewhat vulgar manner and goes out to pick up men, which fails to produce any real love. Another wants to marry a man whose family runs a respectable store. Another sings -- incognito -- with a pop band, while the last, Jacqueline
Jan 1, 1960 Wide
Sep 26, 2000
Kino on Video
Cast
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Bernadette Lafont
Jane -
Clotilde Joano
Jacqueline -
Lucille Saint-Simon
Rita -
Stéphane Audran
Ginette -
Ave Ninchi
Madame Louise -
Sacha Briquet
Henri -
Jean-Louis Maury
Marcel -
Mario David
André Lapierre, André ... -
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All Critics (10) | Top Critics (5) | Fresh (4) | Rotten (0) | DVD (3)
Chabrol's scathing commentary on bourgeoisie values, complicity and guilt.
...puts a universal face on lives of noisy desperation
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Foreign Titles
- The Good Time Girls (Les Bonnes Femmes) (DE)
- The Good Time Girls (Les Bonnes Femmes) (UK)
Even the smallest attempts in asserting feminine independence are ferociously mocked. When Jane, played brilliantly by Bernadette Lafont, reprimands her suitor for habitually calling her by the wrong name, she is ridiculed for her outburst and the men continue to tease the idea of the "eternal feminine." Chabrol also has a strip show taking place in the background during this scene to show how the objectification of women always looms around these characters. Even in some of the most seemingly arid scenes Chabrol always features a man in the scene looking over the women's shoulders or encroaching on their personal space.
These women become so starved for genuine affection that they are willing to put up with a relationship which censors their individuality. Or in the case of Jacqueline (Clotilde Joano), are willing to assume that a mysterious stalker just might be a chivalrous paramour.
Although Chabrol is accredited with being one of the premiere filmmakers of the French New Wave, his film doesn't feature many of the stylistic hallmarks that other films of this ilk utilize. While lovers of the French New Wave may be dismayed by the film's austerity, one should not let this take away from the fact that it is a wonderfully crafted film which features some incredibly poignant moments. It isn't an uplifting watch, but Chabrol's passion for this subject truly shines through. It is a film that demands your attention and it is one that should not be skipped over.