A fresh take on ’Bonjour Tristesse’: A modern retelling
Revisiting a classic with a new perspective
The 1958 adaptation of “Bonjour Tristesse” is a film that Hollywood might shy away from today. Directed by Otto Preminger, it was a controversial interpretation of a novel written by Françoise Sagan, focusing on the life of a French teenage girl. Jean Seberg, who starred in the original, once remarked about Preminger, “He used me like a Kleenex and then threw me away.” This sentiment sets the stage for a more sensitive and chic reinterpretation by Montreal-born writer-director Durga Chew-Bose.
A sensory journey through the Côte d’Azur
Chew-Bose’s version of “Bonjour Tristesse” is an impressionistic retelling that emphasizes tactile details. The film captures the essence of the Côte d’Azur with scenes that highlight the sun’s warmth on the skin, the relief of an open icebox on a hot summer night, and the familiar scent of a father’s aftershave. This approach offers a vicarious vacation to the south of France, filled with vivid sense memories and eloquent dialogue that might seem too sophisticated for a 19-year-old protagonist.
Exploring Cécile’s motivations
In this new adaptation, Chew-Bose provides a more generous interpretation of what drives Cécile, now played by Lily McInerny, to meddle in her father’s love life. However, the film’s wispy narrative and peculiar casting choices may limit its impact, potentially relegating it to a niche audience rather than supplanting Preminger’s version.
The cast and their roles
Cécile’s father, Raymond, is portrayed by Claes Bang, known for his role in “The Square.” His character remains as dashing as ever, bringing Cécile and his latest fling, Elsa (Naïlia Harzoune), to a vacation home on the French Riviera. Cécile is accustomed to her widowed father’s womanizing ways but feels threatened when he invites and quickly proposes to Anne (Chloë Sevigny), an old friend of her mother. Anne’s character, played by Sevigny, does not fit Raymond’s usual type, and Sevigny makes no effort to convince the audience otherwise. This sets the stage for Cécile’s plan to break them up, reminiscent of classic Shakespearean comedies or “The Parent Trap.”
A personal reflection on Cécile’s journey
In the original film, Seberg’s Cécile stares into the mirror, reflecting on her flaws and the reasons for her father’s lack of love. Chew-Bose’s adaptation, while not letting Cécile off easily, avoids such a reductive psychological reading. Instead, it invites the audience to empathize with the teenager, making her regrets and memories feel more personal and relatable.
The film’s aesthetic and influences
Much of the film is spent in moments of relaxation, meticulously framed by cinematographer Maximilian Pittner to evoke a fashionable sense of ennui. Scenes like Cécile tracing secret messages on her boyfriend’s back or snoozing in a mustard-yellow chair are memorable. This focus on sensations is reminiscent of Sofia Coppola’s work, with echoes of “Call Me by Your Name” in Cécile’s adolescent passion and the adult interpretation of her actions. The most apt reference, however, is Jacques Deray’s “La Piscine,” which featured Alain Delon and Romy Schneider basking by the pool a decade after Preminger’s film.
Modernizing the narrative
Chew-Bose sets her version of “Bonjour Tristesse” in the near present, with Raymond instructing Cécile to toss her iPhone into the sea at one point. This choice inexplicably rejects the sexual revolution that Sagan’s novel anticipated, making the source material feel dated. Cécile’s flirtation with Cyril (Aliocha Schneider) is scandalous only in its unlikely restraint, contrasting with the more liberated spirit of the original story.
A stylish escape from modern life
Despite contemporary signposts, “Bonjour Tristesse” plays like a midcentury mood piece, offering a stylish oasis from modern life. The film is loaded with listless behavior and retro details, from the colored tiles in the opening credits to the classic fashion and cars. Sevigny wears a scarf on her head, while McInerny models several vintage swimsuits, creating a nostalgic atmosphere that doesn’t fully grasp Anne’s significance.
Casting choices and their impact
Casting a counterculture icon like Sevigny as a severe cosmopolitan scold is a slightly jarring choice, similar to Luca Guadagnino’s decision to cast Tilda Swinton in his remake of “La Piscine.” Directors enamored with such unique and daring stars may fail to recognize how out of place they seem in this context, distracting from the intended tragedy of their films.
Final thoughts
Durga Chew-Bose’s “Bonjour Tristesse” offers a fresh and sensory-rich take on a classic story, inviting audiences to experience the Côte d’Azur through a modern lens. While the film’s narrative and casting choices may limit its impact, it remains a stylish and evocative exploration of a young girl’s journey through love and loss.
For more information and to watch the trailer, visit Bonjour Tristesse.