Mary Poppins Returns
Mission: Impossible - Fallout
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All Critics (22)
| Top Critics (8)
| Fresh (19)
| Rotten (3)
| DVD (1)
A brilliant dialectical filmmaker, Preminger extracts the last ounce of pathos from the anguish of the mute witness.
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.
It's almost like a game, the kind that seems funny until someone gets hurt.
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.
Interesting family dynamics. Cecile (Jean Seberg) seems overly dependent on her playboy father played by David Niven. This film is more of a tragedy than a comedy though.
You can forgive David Niven in the shorty shorts with such a great story to tell. Here we have the ultimate father daughter relationship where party dad lives younger than his age much to the delight of his offspring. when it appears that daddy will actually grow up and start a new life with Deborah Kerr..well..watch the sparks fly. Great Preminger.
[font=Century Gothic]In "Bonjour Tristesse," Cecile(Jean Seberg) is the 17-year old daughter of Raymond(David Niven), a wealthy businessman. They are also the best of friends who are having fun on their summer holiday in the south of France. She has met a young man, Philippe(Geoffrey Horne), while Raymond's guest, Elsa(Mylene Demongeot), is enjoying herself, too. Into this happy household, he forgot that he had also invited Anne(Deborah Kerr), Cecile's godmother.[/font]
[font=Century Gothic]Made in 1958, "Bonjour Tristesse" is clearly ten years ahead of its time but we are still only in 1968. In the interim, the movie has not aged well and could have definitely used more of an edge. It chronicles a time when it was becoming hip that parents could be hip but wonders at what cost?(These are noble sentiments which are unnecessarily voiced by the characters themselves.) Raymond has been a spectacularly bad role model for Cecile but Anne shows promise as she is herself a successful fashion designer who wants Cecile to study for her exams.(I do believe in parental responsibility but not societal responsibility.) Cecile has other ideas, simply wanting to play in the moment and be supported by men in the future. [/font]
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