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The Good Time Girls (1960)
"Les bonnes femmes" (original title)

7.6
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Ratings: 7.6/10 from 1,593 users  
Reviews: 19 user | 18 critic

Four Parisian women navigate the world of romance and daily life looking to fulfill their dreams but often find real-life to be inescapable.

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(scenario and dialogue), (adaptation)
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Edit

Cast

Cast overview, first billed only:
Bernadette Lafont ...
Clotilde Joano ...
...
Lucile Saint-Simon ...
Pierre Bertin ...
Jean-Louis Maury ...
Albert Dinan ...
Ave Ninchi ...
Sacha Briquet ...
Claude Berri ...
Le copain de Jane
Jean Barclay
Rossana Rossanigo
Dolly Bell ...
La danseuse nue
Gabriel Gobin ...
Le père d'Henri (as Gabriel Gobain)
France Asselin ...
La mère d'Henri
Edit

Storyline

Ginette, Rita, Jacqueline and Jane try to find fulfillment and love in their lives. Rita has a fiancé whose family is obsessed with social distinction; Jane has a boy-friend in the army, but does not hesitate to enjoy herself with chance encounters; Ginette has a mysterious passion that keeps her away from her colleagues at nights. Jacqueline is lonely; but who is that mysterious bike-rider who is constantly following her ? Written by Eduardo Casais <eduardo.casais@research.nokia.com>

Plot Summary | Add Synopsis

Genres:

Drama | Mystery | Romance

Certificate:

See all certifications »
Edit

Details

Country:

|

Language:

|

Release Date:

22 April 1960 (France)  »

Also Known As:

The Good Time Girls  »

Box Office

Opening Weekend:

$6,578 (USA) (13 August 1999)

Gross:

$6,578 (USA) (13 August 1999)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Caused so much resentment among the public upon its release that some went as far as breaking seats in theaters as sign of protest. See more »

Connections

Featured in The Son of Gascogne (1995) See more »

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User Reviews

 
Chabrol's masterstroke
25 March 2000 | by (Encino) – See all my reviews

The 'overacting of the boss' mentioned in the previous comment is totally intentional! Chabrol is playing around with genres here, exaggerating for effect. He straddles the fence between comedy and tragedy for the entire film, veering this way and that whenever it serves his purpose: to paint an allegory of absurd modern existence through the soul of modern young females. The surreal modern music at the beginning clues you in, and the awesome final scene with the empty, tragic eyes of the girl finding her only happiness when a man asks her to dance brings it all together beautifully. Man! what a great film! I didn't want to leave the theater after watching it twice in a row, but I was too tired. As disappointing as Chabrol's films have been to me over the years, this one was a jackhammer of a surprise. The Hitchcock elements are there but they don't dominate and straitjacket everything else. On a level with "Breathless," "Shoot the Piano Player," yet completely unlike either of them, this film defines the "New Wave" aesthetic, which to this day, some forty years later provides a standard for Tarantino types to strive for. Films like these can only be directed by masters who have the nerve and audacity to bend genres to their whim and speak their ultimate truth through the nature of the medium itself.


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