‘Bonjour Tristesse’ Review: Chloë Sevigny and Claes Bang Headline a Handsome Misfire of an Adaptation

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As a connoisseur of cinema who has spent countless hours immersed in the vibrant hues and poignant narratives that the seventh art has to offer, I must admit that “Bonjour Tristesse” left me yearning for more than just the picturesque Mediterranean backdrop. While the film is visually stunning, with its brightly colored floor tiles and glittering waters, the emotional depth seemed to elude it.

The captivating backdrop of “Bonjour Tristesse” – a picturesque Mediterranean town in Southern France overlooking the sea, as portrayed in this film adaptation by Durga Chew-Bose – immediately pulls you in. The story revolves around themes of adolescent desire, envy, and sexual discovery, now set in contemporary times. Visually, it’s a treat for the eyes, with its colorful floor tiles and sparkling waters. However, despite the presence of two typically lively actors, Claes Bang and Chloë Sevigny, the emotional arc within the story seems strangely uneventful.

As a gamer, I found myself immersed in a storyline strikingly similar to one that catapulted Sagan into stardom back in 1954. In this film adaptation, I step into the shoes of Cecile, played by Lily McInerny, who at 18 mirrors the author’s age during the book’s publication. Spending vacation time with her father, Raymond (Bang), and his latest fling, Elsa (Harzoune), I find myself adopting Cecile’s perspective as she navigates the impending replacement of each new girlfriend. In this ensemble cast, Sevigny portrays an old family friend, Anne, a fashion designer with an air of sophistication and propriety. When Anne and Raymond abruptly announce their engagement, my character sets out to dismantle this union and preserve her existing life.

Cecile’s mother has been gone for quite some time now, and her bond with Raymond is particularly strong, yet neither of them seem to arouse suspicion. Chew-Bose strategically begins the film by introducing us to Cecile and her fresh romance, a neighbor of similar age named Cyril (portrayed by Aliocha Schneider). It’s clear that Cecile may have some unresolved issues with her father, but she is not consumed by an obsession; instead, on one unexpected night, she stealthily slips into Cyril’s bed.

However, she’s been a shrewd witness to Raymond’s flirtatious ways. A challenge in the revised version is that the once-shocking sexual liberation of seven decades ago no longer raises eyebrows for either father or daughter. The most astonishing aspect here is that everyone smokes and adults even light Cecile’s cigarettes for her. Chew-Bose’s script fails to delve deeply into the characters, lacking the book’s ability to evoke a sense of shock with psychological complexity instead.

As a passionate gamer, I found Maximilian Pittner’s cinematography absolutely captivating throughout “Bonjour Tristesse.” The movie flows smoothly like a well-oiled machine. However, the performances seemed a bit rigid, not in that intentionally stylish way we sometimes see. I have no doubt that Bang, known for his charisma and charm from shows like “The Square,” “Bad Sisters” on Apple TV+, could play a captivating villain. But Raymond, who should be an intriguing rogue, appears strangely devoid of life. McInerny, famous for shows like Hulu’s “Tell Me Lies” and “Palm Trees and Power Lines,” does an excellent job of portraying Cecile’s jealousy and confusion in a visceral manner. Yet, the script seems to limit her character to lounging under the sun and going through the motions of trying to break up the engagement by enlisting Elsa to distract Raymond from Anne.

Sevigny excels in her part, partly because Anne is already quite tense. She keeps her hair pulled back in a strict bun, carries herself formally, and presses Cecile to prepare for her college entrance exams. The actress delivers a powerful scene where the camera, focusing closely on her face, reveals a look of raw, startling agony as she realizes the depth of Raymond’s deceit. However, these characters tend to declare their emotions rather than showing them subtly.

Crew-Bose has written about cinema and published a collection of essays, Too Much and Not in the Mood (2017). Her screenplay is thoughtful enough to try to enhance the motivation behind Raymond and Anne’s unlikely decision. She and Raymond’s late wife had been close friends, and it’s suggested that Anne and Raymond may have more history than anyone else knows. But all that zooms by. It’s true that from her limited perspective, Cecile can’t understand what’s happening any better than we can. But that doesn’t offset the movie’s overall shallowness.

The decisions made by Cecile ultimately result in heartbreaking outcomes that mark the end of the story, introducing her to genuine sorrow. In a brave move, Crew-Bose expands the narrative past the novel’s conclusion, creating one of the film’s most impactful scenes. This daring approach could have elevated Bonjour Tristesse beyond merely being aesthetically pleasing.

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2024-09-06 05:55