‘Bonjour Tristesse’ Review: Chloë Sevigny Feels Miscast in Female-Driven Retelling of Françoise Sagan’s Novel

As a long-time cinephile who has seen my fair share of film adaptations, I must say that Durga Chew-Bose’s take on “Bonjour Tristesse” is a refreshing and visually striking interpretation. The emphasis on tactile details and sensory experiences transports the audience to the sun-kissed shores of the Côte d’Azur, making us feel as if we are right there with Cécile.

The 1958 film “Bonjour Tristesse” presents a perspective that contemporary Hollywood seems to avoid: a controversial and allegedly misogynistic director’s portrayal of a novel written by and centered around a young French girl. Actress Jean Seberg, who starred in the movie, described her experience as being used and discarded by director Otto Preminger. What if “Bonjour Tristesse” was reimagined through a woman’s lens – not just the storytelling, but also the emotional understanding of Françoise Sagan’s words? In fact, how would such a depiction resonate?

As a devoted admirer, I’d rephrase that passage like this: Montreal native Durga Chew-Bose delivers an evocative narrative, focusing on tangible elements such as the warmth of the Côte d’Azur sun on one’s skin, the bliss of relaxing before an open refrigerator on a sweltering summer night, and the familiar scent of my father’s aftershave. While intriguing, Chew-Bose’s visually appealing but ultimately empty debut transports viewers to the sultry south of France, where heightened sensory experiences are complemented by language that seems too refined to have come from a 19-year-old’s mind.

Chew-Bose offers a broader perspective on what prompts Lily McInerny’s character (as Cécile in this latest adaptation) to meddle in her father’s romantic affairs, compared to Seberg’s portrayal in the earlier film. However, the movie feels somewhat ethereal and oddly mismatched in its casting, so it may gain some traction, attract a few fans, but ultimately disappear into obscurity without seriously challenging Preminger’s original version.

In the movie, Cécile’s father, portrayed by Claes Bang from “The Square”, is as charming as ever. He brings Cécile and his new acquaintance, Elsa (Naïlia Harzoune), to a villa on the French Riviera. While Cécile tolerates her father’s romantic escapades, she feels uneasy when he proposes to one of her mom’s old friends, Anne (Chloë Sevigny). Anne doesn’t seem like the type for her dad, and Sevigny doesn’t try hard to change this impression. Drawing inspiration from “The Parent Trap” or a Shakespearean comedy, Cécile devises a plan to separate them.

In the first movie, Seberg gazes at herself in the mirror, examining the likeness of the envious blonde with a pixie cut who later became famous in Jean-Luc Godard’s “Breathless.” She then says, “She isn’t to blame for his lack of love anymore. It’s you. You’re pampered. Defiant. Proud. Lazy.” However, Chew-Bose doesn’t simply criticize Cécile but instead offers a more nuanced perspective, encouraging us to empathize with the teenager so that her summer of discontent feels more relatable, as if her remorse and keepsakes were our own.

As a cinephile, I found myself immersed in moments that, though they seemed leisurely, were skillfully composed (by the talented cinematographer Maximilian Pittner) to stir an elegant sense of aimlessness: Cécile tracing hidden messages on her boyfriend’s bare skin, or lounging languidly in a soft mustard-yellow chair. The simple act of buttering her toast left an indelible impression on me.

In a similar vein to Sofia Coppola’s style, Chew-Bose emphasizes feelings that other directors often overlook. It bears resemblance to “Call Me by Your Name,” not just in Cecile’s teenage ardor but also in the mature understanding of her behaviors. However, the film that resonates most strongly is Jacques Deray’s “La Piscine,” featuring Alain Delon and Romy Schneider lounging by the pool a decade after Preminger’s movie.

Chew-Bose intentionally places her adaptation in the contemporary era (Raymond asks Cecile to discard her smartphone at a certain point), which strangely goes against the sexual liberation that Sagan’s novel foreshadowed. Contrary to being progressive, the original work now appears outdated, and Cecile’s near-virginal flirtation with Cyril (Aliocha Schneider) is surprising mainly due to its unexpected modesty.

Despite modern signposts, “Bonjour Tristesse” feels like a mid-century atmospheric piece – a fashionable sanctuary from contemporary life filled with languid actions and nostalgic elements. From the vibrant tiles beneath the opening credits (hardly able to match those created by Saul Bass for the original) to the classic attire and vehicles (Sevigny sports a headscarf, while McInerny dons multiple vintage swimsuits), it fails to grasp what Anne truly embodies.

Why put a counterculture legend like Sevigny into the role of a strict, cosmopolitan critic? This selection might feel slightly incongruous, much like when Luca Guadagnino placed Tilda Swinton in his remake of “La Piscine.” Directors who admire these extraordinary and bold performers sometimes struggle to understand how they appear out of sync with the film’s setting, or how their presence may detract from the intended emotional weight of the movie.

2024-09-06 06:16

‘Bonjour Tristesse’ Review: Chloë Sevigny Feels Miscast in Female-Driven Retelling of Françoise Sagan’s Novel

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