BELLE DU JOUR
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.9
France, 1967 U.S. Availability: re-release begins 6/95 Running Length: 1:40 MPAA Classification: No MPAA Rating (Discrete nudity, mature themes) Theatrical Aspect Ratio: 1.85:1
Cast: Catherine Deneuve, Jean Sorel, Michel Piccoli, Genevieve Page, Pierre Clementi Director: Luis Bunuel Producers: Raymond and Robert Hakim Screenplay: Luis Bunuel and Jean-Claude Carriere Cinematography: Sacha Vierny U.S. Distributor: Miramax Zoe
It's difficult to view BELLE DU JOUR in 1995 and get a balanced historical perspective on the film, which was originally released twenty-eight years ago. Recently, there have been a slew of productions probing issues of identity and double lives. Indeed, this has become a favorite province of independent film makers, probably because it's such a rich field. However, back in 1967, the path was less frequently trodden, and Luis Bunuel's serious-yet-satirical picture helped pave the way for many stories yet to come.
Today, BELLE DU JOUR is as effective as ever. With a ravishing Catherine Deneuve in the title role, this film is a study of contrasts. The main character is at once glacial yet erotic -- a wife by night and prostitute by day. She is two different people in one body, but Bunuel underlines the truth that no person can effectively compartmentalize facets of their life. Crossovers are inevitable, and the harder we try to repress one segment of who we are, the more likely it is to assert itself -- forcefully.
Bunuel also pokes fun at the morals of society by depicting what goes on behind closed doors at the brothel where Deneuve's Severine spends her afternoons. An internationally-known gynecologist begs to be punished. A businessman frolics with three girls at one time. Then there are Severine's erotic fantasies, which easily become entangled with her surreal secondary life. In fact, her misguided relationship with a gangster (Pierre Clementi) arises out of a hidden desire to flirt with danger.
All along, Severine's husband Pierre (Jean Sorel) is blissfully ignorant of his wife's daytime job. He loves her, but wishes she would be more sexually attentive. Meanwhile, a friend (Michel Piccoli) pursues Severine tirelessly -- until he learns her secret. At that point, the chase loses its allure. After all, where's the fun if the "forbidden fruit" isn't quite so forbidden?
Much of the film works because of the capable acting of Deneuve. The scenes where she first approaches the brothel, tentative and uncertain yet undeniably intrigued, are perfectly realized. Deneuve's performance allows the viewer to feel -- not merely sense -- the strange mixture of seduction and repulsion that prostitution holds for a woman in her position. And, as Severine's sexual liberation takes place, Deneuve's beauty is transformed from cool and aloof to coy and playful.
Because producers Raymond and Robert Hakim were unwilling to re- release this film in theaters or on video, BELLE DU JOUR has not been seen for over a quarter of a century. Now, with the rights acquired from the Hakims' estate, Miramax has chosen to use this classic to launch their new subsidiary distributor of French fare, Miramax Zoe. Recognizing how greatly admired the film is (directors from Alfred Hitchcock to Martin Scorsese have sung Bunuel's praise), Miramax has therefore given a new generation this opportunity to see a memorable feature from decades past.
- James Berardinelli (jberardinell@delphi.com)
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