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Sweet Ecstasy (1962)

Douce violence (original title)
Olivier, a handsome but callow and moody young student, picks up an enthusiastic actress during a theatre rehearsal, and is introduced to her acquaintances -- a group of jaded rich kids who... See full summary »

Director:

(as Max Pecas)

Writers:

(screenplay), (dialogue) (as G.M. Dabat) | 1 more credit »
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Cast

Cast overview, first billed only:
Pierre Brice ...
Maddy
...
Elke
Vittoria Prada ...
Barbara
Christian Pezey ...
Olivier
Jenny Astruc ...
Mick
Michèle Bardollet ...
Choutte (as Michelle Bardollet)
Robert Drame ...
(as Robert Darame)
Michel Gordon
Lionel Bernier
Brigitte Suard
...
(as Mitzouko)
Conrad Pringle
Robert Barre
Jacques Bézard ...
(as Jacques Bezard)
Roger Rudel
Edit

Storyline

Olivier, a handsome but callow and moody young student, picks up an enthusiastic actress during a theatre rehearsal, and is introduced to her acquaintances -- a group of jaded rich kids who spend their time storming around the Riviera harassing passersby, throwing wild parties and following all the latest trends. When sexy Elke gives him the eye, he leaves the actress in the lurch and joins the gang for a decadent party aboard a yacht. However, Elke's wanton ways and Olivier's inexperience do not mesh. Charlie accidentally sets the yacht afire. The gang wreaks its vengeance by luring him into a dangerous contest of bravura on a construction site.

Plot Summary | Add Synopsis

Taglines:

Like one of those perfumed nights that rob you of sleep...

Genres:

Drama

Certificate:

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Parents Guide:

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Details

Country:

Language:

Release Date:

7 March 1962 (France)  »

Also Known As:

Sweet Ecstasy  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

2.35 : 1
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Did You Know?

Soundtracks

Il faut Saisir Sa Chance
Music by Georges Garvarentz, Lyrics by Charles Aznavour
Performed by Georges Garvarentz Et Son Orchestre
Sung by Johnny Hallyday
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User Reviews

 
depressingly downbeat
15 January 2004 | by (Montreal) – See all my reviews

In the spirit of the old-fashioned "square-up" reels of early exploitation films, most of the sexy exposés of the early 60s, from Fellini to HG Lewis, presented -- at least superficially -- a morally critical, jaundiced view of the decadence they so willingly displayed. However, the doom-laden view of the wanton lifestyle in Sweet Ecstasy so overwhelmingly permeates the movie that it becomes little more than a depressing experience. Pecas never had the style or brashness of Benazeraf or Metzger, who dealt with similar themes. Elke Sommer, boosted as a Bardot clone, looks stunning and iconic, but completely lacks the charm and freebooting personality of her rival. And the big-band jazz music by Aznavour, with a few ditties by Halliday, now seem totally "square" next to the playful cocktail stylings of Chet Baker et al during the same period. Quite disappointing; the same team's Daniella by Night holds up a lot better thanks to its kitschiness.


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