Les Enfants Terribles
(1950)
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Les Enfants Terribles
(1950)
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Nicole Stéphane | ... |
Elisabeth
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Edouard Dermithe | ... |
Paul
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Renée Cosima | ... |
Dargelos /
Agathe
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Jacques Bernard | ... |
Gerard
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Melvyn Martin | ... |
Michael
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Maria Cyliakus | ... |
The Mother
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Jean-Marie Robain | ... |
Headmaster
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Maurice Revel | ... |
Doctor
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Rachel Devirys |
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Adeline Aucoc | ... |
Mariette
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Emile Mathys | ... |
Vice Principal
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Roger Gaillard | ... |
Gerard's Uncle
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| Jean Cocteau | ... |
Narrator
(voice)
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| Rest of cast listed alphabetically: | |||
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Annabel Buffet |
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Karin Lannby | ... |
The Mother
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Elisabeth is very protective of her teenage brother Paul, who is injured in a snowball fight at school and has to rest in bed most of the time. The siblings are inseparable, living in the same room, fighting, playing secret games, and rarely leaving the house; though Paul's friend Gerard often stays with them. One day Elisabeth brings home Agathe to live with them also. She bears a strong resemblance to Dargelos, a schoolboy whom Paul had a crush on, and who injured him. Paul and Agathe become attracted to each other, causing Elizabeth to be very jealous. Written by Will Gilbert
It took time to build, but when things got really rolling, I felt things could not happen otherwise. The settings and actresses are truly fine. The musical score, simple and obsessive, is perfect for this almost naive plot of youth angst "avant la lettre". The final monologue of Elizabeth about "how we have to make our lives ugly, unlivable" is worth many bad French Literature we "ought to read".
While I cannot say it has any meaning, the "form" of this movie is so good one just forgets. I agree with Amazon's Tom Keogh that it may be "a harbinger of pop narcissism", I thought exactly the same. Some images are beautiful, like Liz moving in the garden with barren trees and a cloudy sky, prodding elegantly in a house that doesn't belong to her.
Doug Anderson on Amazon wrote a good summary and a great line: "the unwholesomeness of the bond is immediately apparent" "little blonde fascist versions of Elizabeth Taylor and Richard Burton-". The thread he and another reviewer have is interesting. I pinch from there my end line: "In film the "how" is everything".