‘Bonjour Tristesse’: A Contemporary Take on a Classic Novel

Françoise Sagan’s 1954 novel, “Bonjour Tristesse,” captured the essence of youthful abandon against the enchanting backdrop of the French Riviera. Written during Sagan’s own adolescence, the novel delves into themes of love and betrayal. When Otto Preminger adapted it into a film in 1958 featuring stars such as Jean Seberg, Deborah Kerr, and David Niven, it not only popularized the story but also influenced the emergence of the French New Wave. The film’s striking visuals, blending Technicolor with monochrome, still resonate today, as evidenced by Jean Luc-Godard’s remark that he could seamlessly transition from its final shot to the opening of “Breathless” with a simple caption: “Three years later.”

A New Vision: Durga Chew-Bose’s Debut

Decades later, a new film interpretation aims to capture the same enchanting allure of Sagan’s work. Directed by Canadian writer Durga Chew-Bose, this adaptation presents both thrilling vistas and complex emotional landscapes. While it maintains some of the vintage charm and modern sensibilities of the original story, it also attempts to probe deeper into the psychological intricacies surrounding its young protagonist, Cécile.

Character Dynamics and Plot Overview

Set amidst the sparkling blue skies and serene waters, the film introduces Cécile (Lily McInerny), who enjoys a blissful summer with her charismatic father, Raymond (Claes Bang), and his youthful dancer girlfriend, Elsa (Naïlia Harzoune). Their idyllic life takes a turn with the arrival of Anne (Chloë Sevigny), a friend of Cécile’s late mother. Anne’s presence brings a contrasting maturity to the environment, rejuvenating past relationships while also hinting at shifts that Cécile is reluctant to accept. The tension lies in Cécile’s desire to preserve her carefree summer while grappling with the impending changes that Anne represents.

Cinematography and Soundtrack

Visually, the film is compelling, enhanced by Maximilian Pittner’s vivid cinematography that captures the sun-soaked ambiance of the Riviera. The use of interstitial shots is effective, providing context without overwhelming the viewer. Lesley Barber’s evocative score beautifully complements the film’s themes, blending romance and melancholy seamlessly.

Thematic Exploration and Dialogue

Despite its strengths, Chew-Bose’s film sometimes leans too heavily on introspective dialogue that detracts from the story’s inherent fluidity. Characters express overly analytical thoughts about their emotions, resulting in moments that feel more like essays on psychology than authentic exchanges. Early in the film, Elsa comments on Cécile’s perception: “She’s imagining what she looks like to us,” while later, Cécile notes to her father, “Your silence is different — I’m not in on it.” These reflections, though insightful, can disrupt the narrative flow.

Conclusion

Ultimately, while Chew-Bose’s “Bonjour Tristesse” achieves a commendable fusion of old and new, its clinical exploration of character psyches may alienate some viewers from the emotional tumult that defined Sagan’s original work. Nevertheless, the film stands as a worthy adaptation, invigorating the timeless narrative for a contemporary audience.

Source link