Bonjour Tristesse is a 1958 British-American Technicolor film in CinemaScope, directed and produced by Otto Preminger from a screenplay by Arthur Laurents. It tells about Cecile, decadent young girl who lives with her rich playboy father Raymond. . You can read more in Google, Youtube, Wiki
Cecile, decadent young girl who lives with her rich playboy father Raymond. When Anne, Raymond's old love interest, comes to Raymond's villa, Cecile is afraid for her way of life.
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Bonjour Tristesse torrent reviews
Heather M (nl) wrote: Children of the Corn in the desert...? Pass.
Kittykins Revamped (gb) wrote: What can I say? Alan Rickman's in it.
thanish r (fr) wrote: jalsa is cool movie pawan has done goodjob and he is super in doing comedy and timing in this film we have comedy sentiment action drama romance and songs are also good and direction and dialouges and story are done by trivikram and he is super technician and can watch more then once
Cameron J (nl) wrote: It seems like anyone who hooks up with Elizabeth Olsen lately is in for a horrifying revelation, as we're seeing with "Oldboy" and now this, which, beyond that, is not to be compared to "Oldboy", especially when it comes to entertainment value. Yup, I'd say that making an independent period piece set in Paris seems to be a very effective technique in making an erotic thriller rather dull. You know, I can't help but get the feeling that Tom Felton has a big enough secret to keep in real life, because he looks as though he's left Hogwarts very well aware of how to work a wand, if you catch my drift. I'm kidding, because, seriously, Felton can't be that gay if he's married to Elizabeth Olsen, but then again, that's in the acting business, where Neil Patrick Harris made for quite the convincing womanizer on "How I Met Your Mother". At any rate, the dude is getting his lady taken from him, and he should have seen that coming if his competition is Llewyn Davis, because, I'm telling you, the chicks dig a musician. Sure, he was a folk musician, but that had to have made him, like, Mick Jagger back in the 1860s, where they must not have had an especially high standard for exciting artistry, according to this film. Yeah, I like the film a fair bit, but it does tend to drag its feet, no matter how much it tries to save time with expository shortcomings. The degree of depth to characterization which a drama this intimate should thrive on is questionable, as there is a certain stereotypical thinness to the drawing of certain roles beyond the leads ones, which are still considerably undercooked, especially when it comes to motivations. A lack of background to the characters make it hard to get invested in them, and their conflicts and dramatic actions are hard to get invested in because they're not quite as fleshed as they probably should be, even though no amount of development of notable aspects in the context of storytelling can completely overshadow histrionics. Now, to be based on a 19th century melodrama, this film is surprisingly genuine, although that might simply be because the histrionics are so prominent that you've not choice but to embrace them in the context of this narrative, at least until subtlety issues lapse, distancing believability which in turn further distances one's investment. Dramatic storytelling gets a little carried away at times, and it's not even consistently unique, for although there are enough twists to this period drama's structure for me to question if a lack of originality is as big an issue as many are making out of it, there really is nothing especially unique about this plot, which hits the usual, predictable beat and path, and drags its feet along the way. Developmental shortcomings and perhaps even natural shortcomings rank among the biggest factors in holding the final product back, and also up there is the dragging which helps this film cut through the thinness to a length of just shy of 110 minutes by incorporating meandering material after meandering material, all backed by an expected dryness to Charlie Stratton's direction which further retards momentum in the tight grip of limpness which dull matters down, occasionally to a crawl. Now, my big fear would be that this film would be very often, well, boring, and it's not that, but not either is what I was hoping it would be: a more fleshed out and fresh drama with enough steam and resonance to transcend underwhelmingness. The final product doesn't even manage to come to the brink of rewarding, but there are a number of occasions in which it does, with the help of engaging strengths, many of which keep consistent throughout this at least handsome affair. The film is at least aesthetically solid, with art directors Jasna Dragovic, Kai Koch and Tibor Lzr restoring 1860s Paris handsomely, or at least with an immersion value that seems handsome before the cinematography by Florian Hoffmeister, whose efforts are as remarkable as anyone's with its absolutely mesmerizing emphasis on specific lighting which almost gothically stresses the bleak in contrast with the hauntingly crisp. The film is gorgeous, and there are times where it's extremely difficult to adequately express that, thus, aesthetic value stands out about as much as, if not more than anything, often to the point of actually supplementing the substance of this drama through style. Newcomer Charlie Stratton's direction is ambitious, though not in a flashy manner, but rather, in a thoughtful manner that actively limps momentum, which all too often slips too far, to the point of a certain blandness, maybe even dullness, yet still manages to hang in their enough to never fully lose engagement value, augmented considerably when Stratton's writing provides material to draw upon with the meditativeness. Stratton's efforts as both writer and director meander, uncertain of how exactly to approach this subject matter, but when inspiration is realized, the depth of this minimalist drama is with it. mile Zola's "Thrse Raquin" is a classically audacious and scandalous story of betrayal for the sake of justifying sin, and although the plot is a little minimalist to begin with, and has come be dated as formulaic in the context of a new interpretation, it is juicy, with a potential for tension and resonance that is done some justice at times, despite a lack of intimacy that it never lost, thanks the inspired performances. The cast is strong, and delivers as best it can, with Tom Felton - as a well-intentioned, but flawed young man who fears that he is falling short on his role as a man - and Oscar Isaac - as a passionate man whose love drives him to horrible deeds he comes to regret once the fruits spoil - marking compelling highlights in a supporting cast that Jessica Lange stands out from in a devastatingly committed portrayal of a woman who slowly, but surely deteriorates under the vicious pressure of trauma deriving from tragedy while Lange grows more and more stellar, though not to where she can overshadow the beautiful Elizabeth Olsen, who leads the drama in an also powerfully layered performance that utilizes rich nuance and penetrating emotional range in order to sell the heartbreaking changes in a woman who finds liberation in a sinful love whose horrifying twists come to haunt and gradually destroy her. The acting ranges from engrossing to absolutely amazing, so if you see this film for no other reason, see it for moments of outstanding demonstration of skill within a cast that still can't carry the final product far enough to even border as rewarding, yet nonetheless joins a number of commendable elements in crafting a reasonably compelling, if sadly thin dramatic thriller. With the cover(s) blown, character depths and motivations feel too undercooked to justify certain melodramatics, while predictability and often dull meanderings further limp things down, until the final product is secured as quite underwhelming, in spite of the immersive art direction, gorgeous cinematography, biting storytelling highlights, and often mesmerizing acting - the strongest of which being by show-stealer Jessica Lange and show-carrier Elizabeth Olsen - that make Charlie Stratton's "In Secret" an adequately engaging drama of so much grit, and only so much bite. 2.5/5 - Fair
Gwenyth L (it) wrote: A very sad movie. great acting by Julianne Moore, but there could have been so much more to the story. Kind of left me feeling flat at the end.
Nikolaj Z (ru) wrote: MULLET = Independent, Rockin', Rebellious, Confrontational, Diligent, Wholehearted, and Jovial Personality.A neat look at the perspectives and roots of the 'Shlong' that transcends gender.
Richard P (it) wrote: Completely engaging.
Faith N (us) wrote: Terrible...couldn't even watch it all
Stella D (es) wrote: will this ever see dvd? *sigh*
Javor B (br) wrote: A minor Fellini, but still interesting.
Dutch V (nl) wrote: I actually enjoyed this one for the pure nonsensical, ridiculous over the top action with absolutely no story other than "they have my daughter". That's what Seagal does, he kills people, and he does a lot of that in this movie. Is it one of his best? No far from it, but for his later films it is okay.
Kong L (es) wrote: "DIABOLICAL | FAR-FETCHED | THRILLING" (80-out-of-100)
Camille L (it) wrote: Un excellent huis-clos avec ce que WALTER HILL sait le mieux faire. Mettre de la tension dans un film sans montrer de vrai acte de violence avant de la faire exploser... Si ICE-T et ICE CUBE sont egaux a eux-memes, ART EVANS et BILL PAXTON sont excellents.
Richard D (mx) wrote: Here's why adapting really short bits of writing into feature films is fraught with difficulty. Allen's short piece "Death" is a funny little parody of Kafka. It would also only account for about 15 minutes of screen time. Adapting it for the screen 20 years later, Allen pads out the material with tons of references to other films, genres and filmmakers. The result is an uneven and slow hodgepodge of material that wears out it's welcome before the first act is over.