The Truth (1960)
DVD9 Custom | ISO | PAL 4:3 | Cover | 02:02:21 | 5,48 Gb
Audio: French AC3 2.0 @ 192 Kbps | Subtitles: English (added)
Genre: Drama
DVD9 Custom | ISO | PAL 4:3 | Cover | 02:02:21 | 5,48 Gb
Audio: French AC3 2.0 @ 192 Kbps | Subtitles: English (added)
Genre: Drama
Director: Henri-Georges Clouzot
Stars: Brigitte Bardot, Paul Meurisse, Charles Vanel
The truth about a so-called "crime of passion" is what French director Henri-Georges Clouzot is supposedly trying to fathom in this film. Bardot stars as Dominique, a hedonistic free-spirit on trial for the murder of her lover, musician Sami Frey. Once again Clouzot breaks ground in his fearless look at private insecurities, revealing what supposedly constitutes a ‘sordid’ lifestyle, and why it is so threatening to bourgeois society. Co-written by Clouzot and his wife Vera (star of Les Diaboliques.) Winner of the 1961 Golden Globe for Best Foreign Film.
Despite the fact that La Vérité (The Truth) was the film in which Brigitte Bardot began to be taken a little more seriously as an actress and not just a sex kitten, the scene that most people remember from it is Bardot doing the cha-cha-cha in the nude.
Bardot plays Dominique Marceau, a country girl who comes to Paris, seduces Gilbert Tellier (Frey), the boyfriend of her sister Annie (Nat) and then shoots him. This results in a murder trial, which is distractingly interrupted by flashbacks.
The court stuff is quite gripping. especially as it is in the hands of such actors as Vanel and Meurisse, who play lawyers. Bardot acquits herself admirably, but director and co-writer Henri-Georges Clouzot (The Wages Of Fear, Les Diaboliques) seems lost among the mores of Paris' jeunesse.
A dissection of life and amorality among the young and disaffected in the late '50s, with Bardot giving her finest ever performance as the girl whose headlong rush from her stiff bourgeois home into a series of frustrating affairs with Parisian intellectuals leads to her trial for murder. Clouzot, the man who made the wonderful but terribly cynical Le Corbeau, The Wages of Fear and Les Diaboliques, is as cold and savage as ever in his observation of French manners, although the courtroom scenes that frame the flashbacks to Bardot's past tend to decrease the tension inherent in the subject. Far from his finest work, but still compelling viewing: compared to Clouzot, even Fassbinder seemed a romantic.
Special Features: None
Huge Thanks to lucyinthesky and myso
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