Perfidia

Titolo originale: Les dames du bois de Boulogne

1945
T
1h 26min

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Paul Bernard, María Casares, and Elina Labourdette in Perfidia (1945)

Una donna dell'alta società architetta un matrimonio tra il suo amante e una ballerina di cabaret che in pratica è una prostituta.Una donna dell'alta società architetta un matrimonio tra il suo amante e una ballerina di cabaret che in pratica è una prostituta.Una donna dell'alta società architetta un matrimonio tra il suo amante e una ballerina di cabaret che in pratica è una prostituta.

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VALUTAZIONE IMDb

7,1/10

4937

LA TUA VALUTAZIONE

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Filmed in 1944 during the German occupation of Paris, there is no mention of World War II, no sign of any German presence, not a single uniform in sight, even at the wedding, and none of the usual well-known wartime regulations and/or shortages. Jean, with apparent ample income, but no meaningful source of obtaining it, seems also to have not only escaped military service, but also drives around Paris, otherwise devoid of civilian traffic and military or police control, in a pre-war American-made 1936 Pontiac convertible that would have normally have been confiscated for wartime use decades earlier, and with an apparent ample supply of otherwise unobtainable gasoline.

Blooper
In the meeting between Hélène and Jean in which they tell each other that there is no more love between the two, the clock on the mantelpiece jumps from ten to twelve to ten past twelve within seconds.

Citazioni
Jacques: There's no such thing as love, only proofs of love.

Versioni alternative
The German dubbed version is about two minutes shorter, due to several cuts in the final scenes. The channel Arte screened the complete movie with the missing scenes subtitled.

Connessioni
Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)

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7/10

Bresson is far more interested in humiliation and misogyny than real passion and convincing evil

There is much to enjoy in this simple tale of the wrath of a woman scorned, but 'timeless', 'masterpiece' or 'spellbinding', I rather think not. It is beautifully shot with memorable performances and an effective if barely believable dialogue. Early on the power and determination evidenced by a mere look from Maria Casares does give one hope that this might have the power of a vintage Bunuel. Unfortunately, for me, Bresson is far more interested in humiliation and misogyny than real passion and convincing evil. I know allowances have to be made for the passing time and changes morals but surely even within the movie as it stands little really adds up. Something of infatuation is illustrated but where is the wonderful portrayal of deep love that some strange folk detect?