One of those film paradoxes of extremes really: gorgeous cinematography whilst at the other end tacky special effects and third-rate acting. Yet it's not spineless and beyond the visual pleasures of sorts, the psychoanalytic indices about fetishism and the narcissistic extension of the self to the machine are intriguing in what is a floral film of a breathtakingly doomed romance. Worth watching despite the flaws.
A helter skelter descent into a sexual self liberation. Wong Kar Wai’s cinematic nostalgia transformed into relentless momentum of joy and kitschy sensuality with dark undertones. Impetus of senses brought to a sudden rest that leaves you panting for more. P.S. A movie when a girl calls his motorbike “my black pimp” can’t be missed.
Motorcycle in 60s was a symbol of freedom, still Rebecca choosed to be a slave of men, institution, of her own. Daniel explained that he is having tools and choices. Maybe she was too young to comprehend and too afraid to exploit. This film is brilliant, cause gives all kinds of reading of her and ours lives. It’s far complex and Cardiff did an excellent narritive and images to comprehend her journey.
Well... This is a statement of its time, 1968... It has the 1960s vibe all over it, so if you appreciate this incredible era's feel and ideals it might be worth watching. Otherwise, except what's mentioned above (and its historical value) there's not much here to look for... It looks and feels dated, the performances are quite atrocious, and even for the 1960/70s fan like myself, it was a bit of an ordeal to watch...
Excellent film très sensuel, plus ou moins féministe, s'intéressant à la liberté sexuelle, à l'amour, aux relations de couple dans les années 1960. Ce film est difficile et intéressant par moment (notamment la scène surfant sur l'idée du viol et/ou du syndrôme de Stockholm). On l'imagine avoir été une catharsis pour plusieurs femmes à sa sortie. Seul bémol : la fin est atrocement cynique.
Leave it to one of the most talented cinematographers ever to make a film about beautiful people burning about on a beautiful motorbike, around the beautiful Swiss lakes. The film doesn't ever really get above the sleeeeeazy top-shelf source material, and there's unwitting comedy in quite how much pouting Delon does. But heck, it does sure all look good.
Basically a 1960s version of Fifty Shades of Grey, set amidst some very pretty European countryside. The simple-minded main character was about as flimsy as her helmet's plastic face shield, and I found myself wishing she'd just crash already so we could all go on with our lives.