Bad Boys for Life
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Probably seen as racy for its time, Claude Chabrol's tale of a love triangle between two women and a man is actually anything but. Instead, it drifts along in that French way, hinting at dominance and submission, aggression and passivity -- although the title doesn't mean The Bitches but rather The Does. Indeed, we see the young woman (called "Why") drawing a doe on the pavement during the prologue to the film. Across the film, she changes her personality as she is adopted and then rejected by both the woman (Frederique, Stephane Audran) and the man (Jean-Louis Trintignant). The ending, perhaps inevitable, doesn't quite come off, because this personality transformation doesn't quite feel right. Still, the film is odd and even bewitching at times, since it doesn't telegraph where it is going.
A very simple story. Not much goes on; and the story is odd. The acting was fair. We have apparent lesbian lovers who develop a relationship with the same guy. One female character is a bit older. She was old enough to know herself and her sexual preferences. But, she gives up women to turn to a hetero relationship ... go figure. Some women seem to have a plastic, moldable, sexual orientation. Something is not rite there.
This is an old story. Its interesting that men rarely, if ever, go from gay relationships to hetero ones. Ive never heard nor read of a documented case like that.
There did not seem to be much dramatic tension. So, when the ending comes, it is a bit out of place.
The bisexual relatiuonship between two women living in a St. Tropez villa. This is one of the works that represents best director Claude Chabrol and his sexy, seductive, intense and trendy thriller with shades of alienation and which also represented the European class and vogue of the time.
major mind games and power play here. well, ménage-a-trois (sort of ) don't usually have happy endings. quite beautifully shot and stylish, but disturbing. and not one of those i' d rewatch. couldn't shake off this vacous feeling after the credits rolled.
Intriguing, fast-moving gem.
There's a good reason this guy is called the French Hitchcock. I like the Rohmer echoes, especially with Trintingnant. If women complain about the portrayal of women in this, ask me about the portrayal of men. Biggest difficulty was relating to people in movie, but all cleared up by the end, since I'm as nuts as they are, and twice as cheesy. Lovely sights and sounds, like landscape paintings; well-thought-out; amazing drama at times; with plenty of subtlety and suspense. Criterion please? With documentaries on filmmaker? I'd like that.
Une femme bisexuelle riche ramasse un jeune artiste de rue dans le sud de la France. Tous deux sont également après le même homme, et un dans le triangle amoureux ne survivra pas. Français avec sous-titres
It is not the sort of film a lot of moviegoers find satisfying. But in its highly mannered way, it goes against the flashy camera tricks and fashionable gimmicks of 1960s directors. Thus it becomes a moody, quiet, highly personal expression.
Low key Chabrol which comes across as a kind of mildly Sapphic Mr. Ripley, in which almost nothing happens, albeit in a very sensuous and stylish way. Hypnotic rather than gripping and marred by the presence of two of the most annoying supporting characters youâ(TM)re ever likely to see, but if French cinemaâ(TM)s your bag, itâ(TM)s not without its merits.
Stephane Audran is fantastique.