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Bonjour Tristesse

Bonjour Tristesse

Drama · Romance · 1958

A spoiled teenager spends the summer at the French Riviera with her rich, widower, playboy father, but when his old flame resurfaces, she resolves to keep her frivolous lifestyle at all costs.

Movie details

Bonjour Tristesse

1958 Drama · Romance 1h 34m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

A spoiled teenager spends the summer at the French Riviera with her rich, widower, playboy father, but when his old flame resurfaces, she resolves to keep her frivolous lifestyle at all costs.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Bonjour Tristesse?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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18-year-old Noah moves from America to London, with her mother who's recently fallen in love with William, a wealthy British businessman. Noah meets William’s son, bad-boy Nick, and soon discovers there is an attraction between them neither can avoid. As Noah spends the summer adjusting to her new life, her devastating past will catch up with her while falling in love for the first time.

My Policeman

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Names above the title

The people responsible.

Directed by

Otto Preminger

Written by

Arthur Laurents

Deborah Kerr

Deborah Kerr

Anne Larson

David Niven

David Niven

Raymond

Jean Seberg

Jean Seberg

Cecile

Mylène Demongeot

Mylène Demongeot

Elsa

Geoffrey Horne

Geoffrey Horne

Philippe

Juliette Gréco

Juliette Gréco

Juliette Greco

Walter Chiari

Walter Chiari

Pablo

Court is in session

Put Bonjour Tristesse on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.