Bonjour Tristesse
March 2004 Reviewed by: Wes Phillips Format: DVD	(all ratings out of 5): Overall Enjoyment Picture Quality Packaged Extras Sound Quality

Françoise Sagan's Bonjour Tristesse would hardly merit a raised eyebrow today, but its depiction of a young girl overwhelmed by adult emotions was considered really hot stuff back in the ‘50s. What is most surprising about Otto Preminger's film treatment of the novel is how unflinchingly it tells its story.

It takes the viewer a while to determine what that story is, since the film opens with black-and-white evocations of the frenetic "contemporary" Paris lifestyles of the idle rich, before settling down to lush color memories of the back story. Raymond (David Niven), a rich, successful businessman, is vacationing on the Riviera with his 17-year-old daughter Cecile (Jean Seberg), along with his current decorative companion, Elsa (Mylène Demongeot). Raymond has invited Anne (Deborah Kerr) -- a social peer and closer to his age than his usual dalliances -- to join them at their seaside cottage. Anne is initially outraged at the presence of Elsa, but Raymond eventually charms her (and discards Elsa).

Cecile resents having a serious rival for her father's affections -- and chafes at Anne's disapproval of her frivolous approach to life and the older woman's attempt to be a parent rather than a pal. As an act of rebellion, she surrenders her virginity (scandalous in the ‘50s) and, later, hatches a plot to drive Anne away.

By modern standards, the film's pace is leisurely, but Preminger knew what he was doing. By the time the film settles down to tell its story, we have been completely charmed by its unreliable narrator. The juxtaposition between black-and-white nightlife frenzy and cool color reminiscence establishes a rhythm that reflects Cecile's emotional state, and Preminger effectively cuts between the two time frames, drawing the viewer deeper and deeper into the past. By the time he has introduced all of the players, the audience is hooked.

The cast is very effective. Niven's magnetism makes Raymond's charm completely believable and, while young Seberg isn't that effective, she is believable as the callow Cecile. Kerr is superb as the most emotionally complex of the film's characters, but the movie is almost stolen by Demongeot's crazy-as-a-fox Elsa.

The real star of the film may be its 2.35:1 Cinemascope aspect ratio, which uses the lateral real estate of the screen to create tableaux in which the central characters are grouped together within wider spaces or widely separated from one another. These placements effectively mirror the shifting social relationships of the principals.

Some teachers say the first rule of powerful writing is "show, don't tell" and Preminger proves that rule applies equally to film direction. By using his wide canvas, by presenting the facts without apparent editorializing, he deftly tells this slightly overwrought tale with real grace. It's not his best work, but it is mighty good -- possibly better than its source material.

The picture quality is very fine. Some critics feel the color sequences show a bit less saturation than they should, but that could also be another of Preminger's choices. The black-and-white sequences were printed on color stock, by the way, which mutes the dark/light contrast -- further widening the gap between present and past.

The film's sound is adequate, probably as good as can be expected given its late ‘50s provenance. It is full and clear, with good dynamics and articulation, but not completely free from distortion.

Other than trailers, there are no extra features, which is a shame.

Bonjour Tristesse is not a "great" film in the sense of having a big message or containing a career-making role, but it is a great piece of filmmaking and we are fortunate to have a DVD that finally gives it its due.

• Go Back