By Francoise Sagan
Cécile, adolescente de 17 ans est enfin en vacances. Elle les passe avec son père et son amie, Elsa, dans une villa au bord de los angeles Méditerranée. Elle flirte avec Cyril, un voisin, qui a quelques années de plus qu'elle. Des vacances heureuses, jusqu'à l'arrivée d'Anne que son père a invitée.
Déstabilisée dans ce nouveau quatuor, Cécile décide d'agir et de semer le difficulty parmi ces adultes.
Elle les notice, met au element des stratagèmes, des scénarii autour d'elle dont elle forget about l'impact. Elle parvient parfaitement à manipuler ce petit monde autour d'elle, même Cyril, toujours avec un yes détachement.
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Extra info for Bonjour Tristesse
Buss, Robin (1994) French Film Noir (London: Marion Boyars). Carriere, Jean-Claude (2003) LesAnnees d'utopie (Paris: Plon). Caute, David (1994) Joseph Losey (London: Faber & Faber). de Baecque, Antoine and S. Toubiana (1996) Francois Truffaut (Paris: Gallimard). 28 LOUIS MALLE de Baecque, Antoine (1998) La Nouvelle Vague (Paris: Flammarion). 89:43-5. Douchet, Jean (1998) Nouvelle Vague (Paris: Editions Hazan). Douin, Jean-Luc (1998) Dictionnaire de la censure au cinema (Paris: PUF). Drake, David (2002) Intellectuals and Politics in Post-War France (Basingstoke: Palgrave).
Adding to Billard's work, I aim to show just how challenging and complex Malle's cinema continues to be. In short, readers looking for Malle to be an unproblematic hero of the French cinematic arts will be disappointed. Instead, I think that in Malle we have a far more fascinating subject, a director whose films ask difficult questions and offer few reassuring answers. A director who in the course of this book we will see fighting against any simplification of the meaning of his work. Whatever one might think about Malle today, he continues to represent a most enigmatic and multifaceted artist.
Films like Le Feu follet, William Wilson, Lacombe Lucien, Au revoir les enfants and Damage fall within the tradition of tragedy. Les Amants, Zazie dans le metro, Viva Maria, Le Souffle au cceur, Atlantic City USA and Milou en mai are more optimistic and function as classical comedies. The formality of Mallean dramatic structure also points to the more general influence of literature in Malle's work (Colombat 1993: 273). In the course of his career Malle adapted several novels, including Noel Calef s Ascenseur pour Vechafaud (1956); Georges Darien's Le Voleur ( 1994) Josephine Hart's Damage (1991) and most memorably Raymond Queneau's Zazie dans le metro (1959).
Bonjour Tristesse by Francoise Sagan