Movies

Another ‘Bonjour Tristesse’ slinks into moody view, glamorous but more headbound

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The mix of the carefree indulgence typical of adolescence and the relaxed ambiance of the French Riviera fueled the rapid success of Françoise Sagan’s 1954 novel “Bonjour Tristesse,” which she penned as a teenager herself. Otto Preminger’s 1958 film adaptation, featuring the controversial narrative alongside radiant performances by Jean Seberg, Deborah Kerr, and David Niven – along with innovative uses of both Technicolor and black-and-white cinematography – only added to its allure, influencing the French New Wave in the process. As stated by Jean Luc-Godard, he could have seamlessly transitioned from the final scene of that movie to the start of his “Breathless” with a brief inter “Three years later.

After six decades, could a new film based on Sagan’s summer story still recapture the same carefree charm? In the instance of Canadian writer-director Durga Chew-Bose’s debut feature, there is both a yes and a no answer to this question. Certain elements and settings maintain their attractive balance between heat and coolness, and this “Bonjour Tristesse,” with its lush seaside atmosphere and appealing cast, effectively leverages this familiarity by blending vintage elegance with contemporary details.

However, Chew-Bose delves too deeply into the reasons behind a young girl’s life-changing cruelty, often overthinking the motives and reflecting on Sagan’s upper-class characters excessively. This excessive introspection tends to disrupt the swift pace that has always been a key strength of the narrative.

Beneath the most vibrant sky and beside glistening waters, Cecile (Lily McInerny) is experiencing a radiant summer season. She’s cherishing moments with her captivating, dashing father, Raymond (Claes Bang), and his stylish, youthful dance partner Elsa (Naïlia Harzoune), at their secluded villa. Meanwhile, she indulges in a romantic interlude with attentive, attractive local lad Cyril (Aliocha Schneider).

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As a passionate cinephile, I’m thrilled to share that I, Durga Chew-Bose, am stepping into the director’s chair for the first time, premiering my debut film at the Toronto International Film Festival. The project is a contemporary reinterpretation of Françoise Sagan’s timeless novel, a work that was previously brought to life by the legendary Otto Preminger. I can hardly wait to share this new perspective with fellow movie enthusiasts!

The unexpected arrival of Anne (Chloë Sevigny), a close friend of Cécile’s late mother who is a stern fashion designer, introduces a shift in the lively atmosphere. With her sleek hairstyle, buttoned-up shirts, long skirts, and a friendly yet somewhat maternal demeanor towards Cécile, Anne adds a sense of maturity and vigilance to the group. However, as Anne rekindles an old bond with Raymond, it seems that new developments may be on the horizon that Cécile isn’t prepared for. Will she find a way to preserve her carefree summer or will these changes take hold?

In Chew-Bose’s storytelling, the focus is on the protagonist reflecting on significant past events from a somber viewpoint, similar to the novel and Preminger’s movie. However, Chew-Bose’s approach, which is very much present-focused and enhanced by Maximilian Pittner’s bright visuals, initially comes across as an extra treat. The director skillfully incorporates transitional shots that help orient us without being pretentious, while Lesley Barber’s melodic soundtrack effectively creates a romantic and melancholic atmosphere.

However, when Chew-Bose delves into the inner lives of characters using highly conscious dialogue (equally distributed among all characters), a sense of authenticity seems to be sacrificed. As Elsa remarks to Raymond early in the story, they watch his daughter as if she were a specimen. Later on, Cécile tells her father, “Your silence carries a different weight — I’m not privy to it.” These lines feel more like an actor’s instructions for portraying something without words.

It feels like everyone is an emerging psychology expert, making it challenging to accept a scenario that relies on recklessness and illusion, as everyone seems too intelligent to make mistakes. However, Sevigny stands out, portraying a character in a vulnerable emotional state, whose apparent intelligence masks hidden scars.

There are methods to uncover the weaknesses of intelligent or mature individuals when dealing with emotional relationships, as demonstrated by Éric Rohmer. However, Chew-Bose’s interpretation seems more analytical than insightful. While we can admire the craftsmanship in this “Bonjour Tristesse” remake, it may not fully evoke the emotional turmoil it aims to portray.

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2025-05-03 00:31

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