7.4/10
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Les dames du Bois de Boulogne (1945)

Not Rated | | Drama, Romance | 3 April 1964 (USA)
A society lady engineers a marriage between her lover and a cabaret dancer who is essentially a prostitute.

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(scenario & adaptation), (novel) | 1 more credit »
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Cast

Cast overview:
Paul Bernard ...
Jean
...
Hélène
...
Agnès
Lucienne Bogaert ...
Mme. D
Jean Marchat ...
Jacques
Yvette Etiévant ...
La bonne
Marcel Rouzé
Bernard La Jarrige
Lucy Lancy
Nicole Regnault
Emma Lyonel
Marguerite de Morlaye
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Storyline

Hélène understands that Jean doesn't love her anymore. She is full of grief and anger, and she starts brooding on revenge. When she meets Jean, she pretends herself to be the one that has ceased to love the other. Jean is relieved, because now he thinks they can part as friends. Hélène goes to a night club, where a young woman, Agnès, is a famous dancer. Agnés has been forced into this life of debauchery and courtesanship because of poverty. She hates it and all the lecherous men. Hélène has met Agnès and her mother several years ago, and after the show she looks them up. She says that she will help them to leave this degrading life. The next day they shall move to an apartment she has rented, and stay there anonymously. Some days later she arranges a seemingly spontaneous meeting between Jean and Agnès in the Bois de Boulogne. Jean immediately falls in love with Agnès, who he thinks is an innocent girl from the countryside. Fueled by Hélène, and by Agnès's resistance, his infatuation... Written by Maths Jesperson {maths.jesperson1@comhem.se}

Plot Summary | Add Synopsis

Taglines:

Starring the magnificent Maria Casares as 'first violin" in a 'string quartet" of 3 women and 1 man - Diderot's classic tale adapted by Jean Cocteau of a jilted woman's devastating revenge that boomeranged!

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »
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Details

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Release Date:

3 April 1964 (USA)  »

Also Known As:

Ladies of the Park  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
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Did You Know?

Goofs

When Agnes is dancing in the club, her costume changes between when she is dancing and when she goes to her dressing room. The lower edge of the costume on her thighs varies between a straight edge and a ruffled one. See more »

Quotes

Hélène: It happened gradually with my realizing it. I couldn't laugh. I couldn't sleep. I wondered if it was your fault, but no. You're as wonderful as ever. You stay the same. I am the one who has changed. I asked myself over and over. Why am I no longer impatient? Why does my heart not leap up when he arrives? The sound of the elevator's approach no longer thrills me.
Jean: Hélène!
Hélène: It's a horrible discovery, but I wish to be frank. My heart is drifting away from you. I'm ready for your reproaches, ...
[...]
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Connections

Featured in Z Channel: A Magnificent Obsession (2004) See more »

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User Reviews

 
Bresson meets Cocteau: a movie of poetic realism and restrained (and not so restrained) passions
4 March 2009 | by (United States) – See all my reviews

In Les Dames du Bois de Boulogne (or The Ladies of the Bois de Boulogne), we see a society woman Helene played with icy and curiously subtle perfection by María Casares (notice the colorful hats and little white dog and servant) get her form of revenge on an ex-lover (or would-be lover) by having him fall for another woman, a sort of wonderful dancer but more "street" type named Agnes (also very wonderful Elina Labourdette). He doesn't know about her past, since she and her guardian of sorts Mme. D have moved out of their previous dingy place of living, and she can't stand him falling for her since, frankly, she starts to fall in love with him too. What to do? Marriage of course, with some results that on the surface look right out of a TV soap opera.

Which, perhaps, is part of the point. A Hollywood director could make a tawdry melodrama out of the ingredients present here, but the director Robert Bresson is interested in other things, what makes the passions of these characters tic themselves. We see letters written (sometimes with the "help" of another in a conniving way), glances turn into loving stares, significant little things like the lending of an umbrella or the presence of new flowers, the drop of a glass during dinner from minor shock or dismay. At the same time Bresson doesn't let us think these people shouldn't be together, making the eventual dastardly twist make it even harder but even more necessary for Agnes and Jean to be together. Or to try.

Some may be thrown off slightly, as I was, by Bresson's direction here having seen his later, more famous works like his masterpiece A Man Escaped and near-great films (or arguably just the best there is) like Au hasard Balthazar and Pickpocket and how much more restrained and 'stone-cold' emotionally one might say compared to this film. If he hadn't gone his own way with Diary of a Country Priest, Bresson could have gone the way of a more conventional career on the basis of this project, which features some more conventional touches like in the editing, or in allowing for certain moments of incredible and even sensual joy like when Agnes dances. But it's the small touches, and certain traits in the performances that he's able to bring out of his actors, that do mark it as a Robert Bresson picture. And if anything having such a tug-of-war of what is love, what is it to fall for someone dearly in the face of a trick or whatever or cynicism benefits from having somewhat more conventional emotional scenes than the drained sorrow of Balthazar.

Not to mention having Jean Cocteau writing the dialog, which is such an added bonus that it must not be dismissed. Here we see Cocteau's mark by way of the dialog being very rich in getting to the heart of the matter in almost every scene but seamlessly still adhering to Bresson's scenario. One might say it's very "French" in the romantic sense, but why carp? It is a film with three big French names in the writing credits (Diderot, a famous novelist also responsible for The Nun, has a credit as well), and as far as French romance films of the period go it's so deeply affecting that I would say it's mandatory for someone following films of the 1940s from the country. It's about what may or may not be futile in the ways of the heart, or in the worse ways of the heart, and what surpasses society by two people just connecting with each other. A+


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