Synopsis
Cecile is a decadent young girl who lives with her rich playboy father, Raymond. When Anne, Raymond's old love interest, comes to Raymond's villa, Cecile is afraid for her way of life.
Bonjour Tristesse
Cast
Director
Producers
Writer
Original Writer
Editor
Cinematography
Assistant Directors
Camera Operators
Production Design
Art Direction
Title Design
Composer
Sound
Makeup
Hairstyling
Studios
Countries
Language
Alternative Titles
Buenos días, tristeza, Buongiorno tristezza!, Jó reggelt, búbánat!, Καλημέρα Θλίψη, Bom Dia, Tristeza, Ett moln på min himmel, 悲しみよこんにちは, Добър ден, тъга, 슬픔이여 안녕, Здравствуй, грусть, 你好，忧愁, Witaj smutku
Genres
Themes
Releases by Date
Theatrical
-
USA
17 Mar 1958
-
USA
12 Dec 1958
-
Germany18
01 Mar 1959
-
South Korea
Releases by Country
Germany
12 Dec 1958
- Theatrical18
South Korea
01 Mar 1959
- Theatrical
USA
15 Jan 1958
- Theatrical New York City, New York
17 Mar 1958
- Theatrical
Popular reviews
More-
While I may only be two films deep in an expansive career, it’s clear as day that Otto Preminger was a filmmaker years ahead of his time. His framing and use of space took full advantage of what the wide screen format had to offer and that other filmmakers weren’t able to fully realize quite yet. I still don’t believe the black and white sequences in this film are from 1958. While Anatomy displayed his ability to use these framing techniques to tell a compelling narrative, Bonjour Tristesse feels looser and hell of a lot more psychological. Jean Seberg’s enigmatic screen presence mixed with the often vibrant cinematography makes for what is a pretty delusional experience. I wish I felt…
-
A tragic film about skin care. No matter the defenses, there will be sunburns and wrinkles and age. Even the immaculate Jean Seberg slathers face cream onto her cheeks. Preminger choreographs these narcissists in the most astonishingly complex widescreen compositions in his career. Privileged moment: the maid chugging a beer at the extreme left edge, as main characters natter about a casino in the middle ground.
-
-
-
Jean-Luc Godard semi-joked how this was the prequel to Breathless, and indeed a "3 Years Later" after the final shot would tie the two in nicely. But firstly, what a gorgeous film. Segments are alternatively in both black and white for the present day (which I can't remember being used like this in another mainstream film) and colour for the flashback, and both are beautifully shot in obviously different ways. Sleek shadows and elegant bar dresses and such in the black and white, and garish CinemaScope melodrama for the flashback, evocative of the Sirk films of the same era. The French Riviera is a beautiful setting and the colour and vibrancy is so well juxtaposed to the black and white…
-
Preminger was the most psychologically probing filmmaker of Hollywood's classic period, and a filmmaker who managed to craft impeccably blocked, supremely beautiful shots while still racking focus on the subtle displays of characters' roiling interior worlds. Bonjour Tristesse may be second only to Daisy Kenyon as Preminger's most intuitive multi-character study, presenting us with an opulent façade of wealth and playboy idyll that is slowly undermined by both the marginalia of Preminger's vast frames and the increasing chaos beneath the actors' carefree surfaces.
Niven is so great as the father even more childish than his spoiled daughter (Seberg, pitched perfectly between Old Hollywood and New Wave in her performance, at once declarative in the classical sense and in the ironic…
-
Otto Preminger’s drama follows Cecile (Jean Seberg), a girl holidaying with her father on the French Riviera, whose jealousy towards his new relationship causes rippling consequences over their stay, David Niven and Deborah Kerr co-starring.
Preminger probes underneath the decadence of the Rivera set in his look at that lifestyle, a cruelty lingering beneath the pristine surfaces and polite chatter that’s gradually exposed as this goes on. Interestingly, the filmmaker seems determined to keep that more thorny, charged undercurrent just under the surface, a fairly still top layer here for those darker elements to all swirl around.
In its own way this is quite an unusual story really, which Seberg’s standout performance matches to a tee. In what was only…
-
(recém revisto na Cinemateca Portuguesa)
A Jean Seberg aplicando a máscara ao rosto no final.
E a persistência do olhar do Preminger sobre essa vontade que as personagens têm de se apagarem inventando para si mesmas máscaras, umas após as outras (é isso o que dita as construções dos seus filmes, e é isso o que os torna singulares no contexto do que se fazia em Hollywood), qualquer coisa que as afaste de um passado que termina por encobrir tudo (é o que o preto e branco faz aqui) e situa as suas ações num presente eterno, máscaras e passados que encerram as personagens nessa interiorização que de Laura ao Saint Joan fez do Preminger o cineasta do mistério e…
-
#Nivarathon No. 13.
Man, Jean Seberg ruined this movie for me. I don't know, maybe it's just me, but her every movement felt fabricated and terribly unnatural. I felt as if she hadn't played a character but played an actor playing a character instead, if I'm making any sense at all. She didn't embrace her character, she didn't become her; instead she played a rigid, stiff somebody who tried to strike the right chord by woodenly reciting her lines but who was irremediably out of tune. Gosh, it was awful. I felt painfully aware of her forced line delivery, her fake inflection, her bogus smile and the fact that she completely undermined the authenticity of this movie. And Bonjour Tristesse is the kind of movie that would have badly needed it. It's infuriating. The concept, the setting, Otto Preminger's surehanded direction, David Niven... this could have been ace without her. Well, adieu tristesse, I guess.
-
-
I am never quite able to decide if I love Bonjour Tristesse or if its more glaring flaws - namely, the screenplay and the stiffness of some of the performances - detract from my enjoyment. But when the lines are awkward, it doesn't even come across like the actors are forced but that the characters themselves are trying to force us to believe that they're happy. So much effort goes in to showing us the idyllicness of Raymond and Cecile's villa and their life there, or the joy of village celebrations and cocktail parties that it all comes across as artificial - and that's entirely what it is. In terms of the performances, even if Jean Seberg can't get her…
-
3rd Otto Preminger (after Anatomy of a Murder and Laura)
More UC practice watching leads me to this adaptation of a rather infamous French novel, written when the author was only a teenager. Sagan went on to write other books and plays, but this would be her immortal epitaph. Beloved of the French New Wave, the adaptation is a weird film in a number of ways, not least for the relationship at the centre of its drama. Cécile is, at the start of the film, an 18 year old suffering from a severe sense of anhedonia. Through flashbacks, it's revealed that she conspired to end the relationship between Raymond, her philandering father and Anne, her dead mother's best friend, because…
Similar Films
Powered by Nanocrowd