In this adaptation of Françoise Sagan's best selling novel, Paula is a beautiful and highly successful 40-year-old businesswoman. She is deeply in love with Roger, her mature consort of ...
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In this adaptation of Françoise Sagan's best selling novel, Paula is a beautiful and highly successful 40-year-old businesswoman. She is deeply in love with Roger, her mature consort of five years. Roger is a very charming gallant who loves Paula but is too selfish to give up his freedom to be promiscuous. When Paula meets Phillip, the 24-year-old immature lawyer son of one of her rich clients, he falls hopelessly in love with the glamorous, sympathetic older woman and insists that the age difference will be no barrier to a romance. Paula resists the young man's persistent advances, but she finally succumbs when Roger initiates yet another affair with one of his young Maisies. An affair begins, and society does not approve. Written by
Mike Rogers <MICHAELPEM@aol.com>
One of the first scenes to be filmed called for Ingrid Bergman and Anthony Perkins to share a passionate kiss. Bergman had found a similar situation while she was filming Gaslight (1944) extremely uncomfortable. In that film, she was forced to shoot an intimate and romantic scene with Charles Boyer on the first day of production, minutes after meeting the man. Bergman so disliked the experience of kissing a man she had just met on screen that she vowed never to do it again. When she was once again asked to film a romantic scene with a man she hardly knew for this film, Bergman took action. She asked Perkins to practice kissing her privately, in her dressing room, before their scene was filmed on camera. According to Bergman, Perkins obliged, and by the time they performed their scene in front of the camera neither actor found the scene uncomfortable. See more »
For better or worse, the book on which this film is based, Francoise Sagan's highly-touted French best seller, "Aimez-vous Brahms?" was a key document in the early 60's feminist awakening, depicting as it does a horrendous case study of gallic male chauvinism toward an intelligent and faithful woman. Despite the obvious soapiness of the plot, Bergman makes the movie version credible. Her soulful eyes and sad little smile enhance a lovable portrayal of the heroine Paula. Few other actresses of the time had the presence and skill to bring this off -- allowing us to fathom the almost tragic depth of the jejeune Phillip's fascination with a gorgeous "older woman" while avoiding the appearance of silliness which might have, but does not, taint Paula's irrational loyalty to Roger. In short, Ingrid probably set the standard for the many subsequent portrayals of more successful independent yet loving women. The rest of the cast helps too -- Montand's magnetism makes Paula's continuing love for the cad almost believable and, for once, Anthony Perkins' stereotypical "spoiled rich boy " portrayal is right on target and his infatuation convincing.
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