1960
Alias: The girls
Alias: The Good Time Girls Filmmaker: Claude Chabrol
Actors: Bernadette Lafont - Lucile Saint-Simon - Clotilde Joano - Stéphane Audran
Record Cinéprofil
Record Imdb
Seen on DVD
Chabrol An old, very old, who like often with the director caused in me a kind of groping forward that is not unpleasant. If a very large part of his career, most of his 20 or 30 years, he instead invested the fields of social thriller, which allowed him to attack his enemy loved it, although the disgusting and cowardly bourgeoisie province, his early films are moving much less clear. Her youth does she mumble? The guy is he looking for? I do not know. Anyway, these "good women" adopt a style maneuvering between comedy of manners, bittersweet chronicles generational, and finally the trifle romantic film noir.
One wonders if Chabrol is not obsessed by the people he knows best, so this time: the youth, whom he also portrays in "The cousins " or "Le Beau Serge " and he likes to rust out, grinning with glee and evil. We already discovered this propensity to observe patient entomologist and ordered the gestures of his characters trapped in the clichés they feed themselves. With a certain perversity Chabrol leaves its heroes become mired in a fate that seems hopelessly drawn by social conventions or their own stupidity, a sum of various obstacles, they appear eager not to be overcome, let s 'pile to hasten their fall. Here the 4 "good women" most interesting, not an escape to failure and that damn lack of perspective that the years pre-68 posed on an entire everyone but perhaps more for women.
Bernadette Lafont first, what are your dreams?
nocturnal butterfly, she spends her time in the unfortunate burning wings. Happy laughing in the glow in the assertion of a false power, its furtive love with a soldier on leave leave it alone too.
His restless nights the place to thank you for a couple of men who have no other consideration than to make her an object of pleasure. Wolves have violated the lamb.
Although Lucile Saint-Simon appears as a comparatively less important, any drift in love with a very stupid boy, whose dummy comes down to imposing an encyclopedic culture, recitative and hollow, allowing Chabrol of biting one of his portraits wild aggressive and he has the secret, that of a family trapped in its habits and mental restrictions, coming from a province not so far removed from Paris supposed freedoms elsewhere, but considerably infoutue tolerance and openness . This sequence where parents come to meet the bride of their son is both frightening and comic. In any successful development.
Of all the characters that embodied Stephane Audran is the one that moved me most.
He is trying somehow to get out the head of the brackish water that keeps her condition. This life of a shop assistant desert, where boredom gangrene gradually minds, is a kind of prison for it. Her distress when she discovers his colleagues work in the room where it occurs every night on stage to get some fresh air, breathe a breath of fresh air, that horror is sincere, an brutality moving. It also loses its share of freedom. She had reached s'aménager a small space, it no longer exists. It is again under the influence of a sad routine, that of workers, colleagues, endless hours and encroaches on private land.
But of course, the one that feels most badly the harshness of existence, it Clotilde Joano , angelica, more youthful, still very tender and virgin
the small Red Riding Hood advance with the naive and sweet childhood fantasies that outside the walls, no life have shaped them. By dint of fairy tales, reading the water rose, this is Emma Bovary to life, kind and ingenuous priest to be devoured by the most cunning fox. His boss at the evil eye and phrasing so stinking lubricity perverse ( Pierre Bertin) is on the verge of making her snacks libidinous
but the big, fat, muscular The hairy Mario David who wins the song.
But there was something to watch out, his eyes wild, this strange habit of following him everywhere, his clown at the restaurant, its words, its funny warnings he gives before putting him to death. For Chabrol even dares him soft poles, to save her, but no, this gourd, this poor little blind struggles to get eaten. Love inhibitions and makes fool.
This fable is a rare social cruelty, therefore, since it does not save anyone. Failure is unanimous, so to speak. This no doubt that makes reading a bit hard to swallow. When the shooting criticize other images, realism tends to put the tips. Almost coarse, the intention is no less comical. That's what I said earlier: the cruelty displayed generates a laugh a bit nervous, a little embarrassed, not knowing which way to turn.
Trombi :
Ave Ninchi :
Sacha Briquet :
Jean-Louis Maury :
Albert Dinan :
Claude Berri :
Dolly Bell :
France Asselin and Gabriel Gobin :
Dominique Zardi :
Philippe Castelli :
Jean-Marie Arnoux :
Karen Blanguernon :
