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Reżyseria:
Claude ChabrolScenariusz:
Claude ChabrolZdjęcia:
Henri DecaëObsada:
Bernadette Lafont, Stéphane Audran, Lucile Saint-Simon, Clotilde Joano, Jean-Louis Maury, Albert Dinan, Pierre Bertin, Mario David, Claude Berri (więcej)Opisy(1)
French director Claude Chabrol, one of the founders of the French New Wave, follows carefree lives of four young elegant women who desire to gain the experience of romantic love in 60s in "romantic" Paris, with exactly balanced dose of spontaneity and freshness. All women work in the same shop under the supervision of lecherous boss, proclaiming empty talk about the human morals and good social manners. Each of them has their own way how to escape from the harsh everyday-life reality and the emptiness of their life. Rita (Lucile Saint-Simon) flirts with the boss, Jane (Bernadette Lafont) meets with married men, Ginette (Stéphane Audran) sing incognito in unknown cabaret and Jacqueline (Clotilde Joan) lives for her dream to find true love. Their romantic dreams of perfect men, however, disappear in mens´ recklessness, malice, promiscuity and lies. The famous director, also known as a master of the French thriller, follows its characters from the cool distance of an objective observer of the story's events, without condemning the weakness and stupidity of its characters. In the movie The Good Time Girls Chabrol proposes a realistic picture of life of young generation in 60s who live from day to day without their higher goals and ambitions. And it is this supposed "negative tone and excessive realism", because of why Chabrol encountered with resentment of critics and audiences at the time of the film exhibition. But today this movie is one of the classics of French cinema and the French Nouvelle Vague. (oficjalny tekst dystrybutora)
(więcej)Recenzje (1)
My review contains a spoiler! The beginning of the 1960s and the golden years of the new wave still found Claude Chabrol in a phase where his films can be classified as "drama, in which someone (violently) dies," unlike later "thrilling murder thriller." Films about people vs. films about killers. The killer in this film appears more as a mysterious and dangerous agent of fate rather than the actual source of genre entertainment (thriller, crime) in the film. Moreover, he carries a metaphorical significance that adds value to the entire previous story. Although the story itself could stand on its own (if, like me, you love the overcrowded illuminated boulevards of Paris in the style of the nouvelle vague, and of course, also Parisians...), the death of the heroine tragically and cynically shows that there is no third alternative between superficial fleeting love (or longer-lasting love, but with a considerable amount of conformity) and true fateful love. And we have seen how the latter unfolds.
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