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Movie review: BONJOUR, TRISTESSE (2024)
For this film to qualify as a success, everyone who sees it must go home and stream the original.
Nailia Harzoune, Claes Bang and Lily McInerny add but little distress to this remake.
BONJOUR, TRISTESSE (2024) Writer & Director: Durga Chew-Bose / From the novel by Françoise Sagan / Cinematographer: Maximilian Pittner / Design: François-Renaud Labarthe / Editor: Amélie Labrèche / Composer: Lesley Barber / Acted by: Lily McInerny, Claes Bang, Chloë Sevigny, Nailia Harzoune, and Aliocha Schneider / Distributor: Greenwich Entertainment / Rated R / Length: 110.
For better or worse, remakes have always been as much a part of the moviegoing experience as sticky auditorium floors and the couple two rows behind you providing play-by-play commentary. But please: if you must remake a movie, make it a bad one. From where I sit, there is nothing wrong with Otto Preminger’s Bonjour, Tristesse (1958).
I must confess to approaching the remake with equal degrees of loyalty and agita. Not since Gus Van Sant traced Psycho have I taken a remake so personally. I knew it would be impossible to approach this without the brilliance of the original blinding me from my rear view mirror.
Video:
Trailer: BONJOUR, TRISTESSE
It’s like I always say: Preminger is colder than an igloo filled with Kubricks. There’s not a likable character in the original, while many in the Durga Chew-Bose adaptation are quite agreeable — starting with David Niven substitute Claes Bang as Cécile’s father, Raymond. Bang is a handsome, soft-spoken James Mason soundalike, and the basic decency inherent in his performance eschews any hint of the incest that Preminger’s screenwriter Arthur Laurents managed to smuggle into the 1958 Hollywood release.
And in this, her second feature, Lily McInerny doesn’t bring to the role the spark and manipulative temperament needed to flesh out Cécile’s dark side. Without giving anything away, suffice it to say that it was her actions that contributed to the film’s tragic ending.
The only way for this film to qualify as a success would be if everyone who sees it goes home and streams the original. *
Video:
Film: BONJOUR, TRISTESSE (1958)
Here's something you might be interested in.
Movie review: BONJOUR, TRISTESSE (2024)
For this film to qualify as a success, everyone who sees it must go home and stream the original.
Movie review: BONJOUR, TRISTESSE (2024)
For this film to qualify as a success, everyone who sees it must go home and stream the original.
Nailia Harzoune, Claes Bang and Lily McInerny add but little distress to this remake.
BONJOUR, TRISTESSE (2024) Writer & Director: Durga Chew-Bose / From the novel by Françoise Sagan / Cinematographer: Maximilian Pittner / Design: François-Renaud Labarthe / Editor: Amélie Labrèche / Composer: Lesley Barber / Acted by: Lily McInerny, Claes Bang, Chloë Sevigny, Nailia Harzoune, and Aliocha Schneider / Distributor: Greenwich Entertainment / Rated R / Length: 110.
For better or worse, remakes have always been as much a part of the moviegoing experience as sticky auditorium floors and the couple two rows behind you providing play-by-play commentary. But please: if you must remake a movie, make it a bad one. From where I sit, there is nothing wrong with Otto Preminger’s Bonjour, Tristesse (1958).
I must confess to approaching the remake with equal degrees of loyalty and agita. Not since Gus Van Sant traced Psycho have I taken a remake so personally. I knew it would be impossible to approach this without the brilliance of the original blinding me from my rear view mirror.
Video:
Trailer: BONJOUR, TRISTESSE
It’s like I always say: Preminger is colder than an igloo filled with Kubricks. There’s not a likable character in the original, while many in the Durga Chew-Bose adaptation are quite agreeable — starting with David Niven substitute Claes Bang as Cécile’s father, Raymond. Bang is a handsome, soft-spoken James Mason soundalike, and the basic decency inherent in his performance eschews any hint of the incest that Preminger’s screenwriter Arthur Laurents managed to smuggle into the 1958 Hollywood release.
And in this, her second feature, Lily McInerny doesn’t bring to the role the spark and manipulative temperament needed to flesh out Cécile’s dark side. Without giving anything away, suffice it to say that it was her actions that contributed to the film’s tragic ending.
The only way for this film to qualify as a success would be if everyone who sees it goes home and streams the original. *
Video:
Film: BONJOUR, TRISTESSE (1958)