I couldn't help but think of how the Cahiers crowd disliked Clouzot, how this came out the same year as Breathless, and how it's about the same restless youths. The film needs more New Wave roughness to do them justice, and Godard was better at both understanding and misunderstanding the kids of cafe life. But Clouzot brings his trademark toxicity to a character Bardot embodies. The old guard wasn't dead. Not at all.
7.5/10, "A sagacious advice from this exceedingly entertaining and truth-revealing Gallic crime-drama: always stick to your type when you choose the other half, it is safer and much wiser to handle the devil you know than those you don’t." my full review - https://wp.me/p1eXom-3WL
If we see Clouzot as a director w/ a tendency to personalize subject matter that has a broad or expansive societal scope, than LA VÉRITÉ demands to be understood as a uniquely characteristic triumph. If Hitchcock strives to make the viewer complicit, Clouzot is more focused on making himself complicit. The auteur becomes himself a compromised agent of the judgement and control that he simultaneously seeks to revile.
Worth watching for the contrast alone: the young Bardot as an agent of deconstruction for bourgeois concepts of morality, and the present-day one, the Front Nationale supporter, who defends the old, patriarchal ways from militant feminism in the name of 'tradition'. Full circle.
A decent piece of film-making distinguished by a philosophical approach towards exploring gender issues and the madness of love. It's most impressive in its depiction of how the individual's loss of mental balance can be a symptom of the inequities within society. Bardot gives a committed performance.
Astonishingly detailed, implacable study of the social context that gave rise to the NewWave youth lifestyles. Conventional courtroom drama unveils the contradictions of a generation far less free than the cinema of the decade would make us believe. The leads - Sami Frey and BB - are credible every minute of it, and occasionally electrifying. Even as a seasoned viewer of 1960 European film, this was a surprise.
A compelling court room drama that tells its story through flashbacks. The story focuses on Dominique Marceau and her affair and obsession with a freshly graduated composer. Clouzot's direction is subtle throughout and shows viewpoint from each character, always highlighting human frailties, over judgement and condemnation, which makes it a fresh and exciting court room drama amplified by Bardot's alluring presence.
I really like Clouzot and he normally consistently pleases me, but in this one the only interest I found were the remarks from the defense attorney. Bardot is good looking but extremely annoying. Photography and direction is good enough, but there still need to be some interest about what's on screen for it to matter.
Sophisticated courtroom drama more interested in existential than factual guilt (as appropriate to a film which spends much time in the coffee houses of Sartre & de Beauvoir. "There is a solidarity of all men in error and aberration. Must that solidarity operate for the tribunal and be denied the accused?" (Camus, 'Reflections on the Guillotine') More subtle in its feminism than 'Diabolique'. BB the best at ennui.
Strangely modern sensibility. I genuinely believed both prosecution and defence arguments at different times. What is love other than a form of madness? Diminished responsibility describes it perfectly. Bardot is riveting, but my favourite character was the defence lawyer.
This may well have been my first time seeing Brigitte Bardot onscreen, and what an experience it was. She is stunningly beautiful, and wonderfully coquettish here,crucial to her performance as a woman on trial for murder, but who appears to be facing a vedict based on her approach to life and love. The supporting cast all do well, and director Henri-Georges Clouzot directs with his usual assured touch.
Utterly brilliant film. The characters, the shots, the acting, the story. It had me hooked from beginning to end. One cannot help but feel sympathy for the accused in this murder / suicide love story, whose passions are real and without the pretence of those she stands accused before. I only wish my French was better so I could understand all the non-translated phrases.
Excellent film - in many ways ahead of its time. Challenging both the judgemental nature of bourgeois morality and the nihilism of bohemian life styles, and leaving the viewer to be the jury after all. Particularly impressive performances from Bardot and her defence lawyer Charles Vanel. Deserved the Oscar it did't get.
Well filmed, well acted and moving film showing the traps bourgeois 1960's morality set for anyone not willing to comply and also how those narcissistic enough to take advantage of those traps could destroy lives with callous impunity and I'm not talking only of Gilbert.
It's not God that created this woman. She's not a sympathetic character at all. She plays around with people's emotions. She only wants you when she can't get you. She claims, "I am a person!" But is she? She is treated quite harshly, but then, that's the French for you. Haughty SOBs.