Name: Bonjour Tristesse Review: Chew-Bose Crafts a Lush Visual Reverie
Item: Bonjour Tristesse
Author: Shahrbanoo Golmohamadi

Françoise Sagan’s 1954 novel “Bonjour Tristesse” introduced generations of readers to a carefree summer spent along the sunny coastline of southern France. At just 18 years old, Sagan captured the melancholy joys and simmering jealousies of adolescence with insight well beyond her years. Her tale of a teenage girl navigating relationships both new and old during a family vacation quickly became a classic.

Two adaptations followed—the first a 1958 film directed by Otto Preminger. Known for his no-holds-barred approach, Preminger brought Sagan’s story of youthful passions and reckless desires to vibrant life. Over half a century later, writer-director Durga Chew-Bose took on the challenge of interpreting this beloved coming-of-age story for a new audience. Her 2024 film update seeks not just to retell Sagan’s plot but to recreate the bittersweet atmosphere and quietly profound insights of those memorable summer days.

Set along the sun-drenched Mediterranean coast that first drew readers in, Chew-Bose’s “Bonjour Tristesse” introduces us to Cécile, a spirited teenage girl enjoying what may be her last carefree vacation. As with the novel, we experience Cécile’s world through her perceptive yet limited point of view.

Chew-Bose makes some notable updates to better suit modern viewers, yet her elegant, emotionally honest approach succeeds in transporting us to Cécile’s charming yet ominous seaside idyll. With this fresh yet faithful adaptation, Chew-Bose brings Sagan’s timeless exploration of youth, relationships, and personal awakening to a vibrant new life for a new generation to discover.

Summer on the French Riviera

We’re introduced to Cécile, a bright 17-year-old spending her summer at a magnificent villa along the Mediterranean coast with her father Raymond. Every day is a carefree dream—lazy mornings sunbathing, afternoons exploring rock pools with her friend Cyril, evenings dining on fresh seafood while chatting with Raymond and his girlfriend Elsa.

Raymond dotes on Cécile, and the two share an unusually close bond following the death of Cécile’s mother years ago. But their idyll is nearing its end as summer blows away. A new arrival threatens to disrupt everything. Anne, an old friend of Cécile’s parents, soon joins them at the villa.

Once a lively regular in their household, Anne now seems severely ruled by responsibility and routine. Where Cécile and Raymond embrace their vacation listlessly, Anne encourages order—like getting Cécile to study. Her mere presence causes ripples. And when Anne and Raymond abruptly become engaged, Cécile feels her easy world cracking.

Determined to salvage her summer, Cécile hatches a plan with Elsa’s help to break up the unlikely couple. Eager to please, Elsa plays along, unwittingly exacerbating tensions. Cécile watches the chaos unfold, unable to control reactions set in motion. As anger and hurt grow between Anne and Cécile, the teenager comes to understand her actions hold lasting consequences she never imagined.

In a story that seesaws between moments of lighthearted beauty and dark undercurrents, Chew-Bose crafts a suspenseful onscreen coming-of-age. We witness a carefree girl’s initiation into how one’s impulses—however fleetingly conceived—can forever alter what’s most precious. By the film’s end, Cécile faces realities about relationships, responsibilities, and herself that will linger well after summer’s close.

Visual Reverie

Chew-Bose crafts Bonjour Tristesse into as stunning a sight as its story world. Under her helm, a singular vision of the French Riviera coast comes alive, transporting viewers right alongside Cécile into the heart of her luminous yet ominous summer. It’s a feast for the senses that could only be achieved through the talents of true visual artists.

DP Maximilian Pittner acts as our tour guide along the Mediterranean, framing languorous establishing shots that encourage us to linger on the sun-dappled sea and rocky shorelines. His camera crafts even the most banal interactions into miniature dance sequences, gliding between Cécile and her companions. Production designer François Renaud-Labarthe fills each frame with production value, from the villa’s sapphire tiles and mingling interior/exterior spaces to vibrant period costumes that transport us effortlessly.

Playing with color is clearly a personal passion for Chew-Bose. Dominant blues saturate nearly every space, from the cloudless skies to the shimmering ocean glittering beyond every window. It’s a creative choice that deepens the overall atmospheric tone while allowing sporadic bursts of other hues to pop lively against the backdrop. Costume designer Miyako Bellizzi infuses each outfit with the same care, adorning Cécile in romantic swimming costumes and gauzy sundresses befitting endless balmy days.

Lesley Barber’s luscious original score drips with nostalgia, blending lilting strings and piano with snippets of French pop hits from the era. It pulls subtly at our heartstrings where dialogue falls flat, enhancing subtext and injecting even banal moments with an intangible emotion. Through their collective efforts, Bonjour Tristesse achieves that elusive dreamlike quality so many films strive for yet so few grasp. Under Chew-Bose’s guidance, it’s nothing short of hypnotic.

Inner Turmoil on Display

Chew-Bose elicits deeply introspective work from her lead performers, crucial to bringing this delicate character study to life. Lily McInerny immerses us in Cécile’s swirling adolescent mind, her features artfully conveying every fleeting thought. We feel Cécile’s glee in languid summer days yet also her rising panic as a new order disrupts her world. McInerny ensures Cécile remains achingly human even when her actions stray selfish.

Opposite Cécile is Chloë Sevigny’s Anne, an enigma who reveals her depths subtly yet profoundly. Sevigny infuses even banal moments with unrest simmering just below. She lets a flicker of pain flash across her eyes or purses her lips ever so slightly, conveying volumes about Anne’s inward turmoil. Her nuanced work lends equal weight to Anne’s comforting authority and quiet despair.

As Cécile’s indulgent father Raymond, Claes Bang brings charm to what could have been an airy caricature. Bang ensures we understand Raymond’s casual negligence despite seeing its harms. Even in glib moments, Bang’s eyes betray Raymond, who knows the consequences of coasting through life. His layering of perception and denial makes Raymond’s ultimate realizations in the film’s later scenes feel devastatingly earned.

Supporting standouts like Nailia Harzoune and Aliocha Schneider bring an exquisite tenderness to smaller roles, helping us bond with secondary characters. Throughout, the cast transports us inside this story and these people through subtle gestures and glimpses into their souls. It is their emotionally astute performances that transform Chew-Bose’s tale from a pretty seaside picture into a deeply impactful human portrait.

Internal Transformations

Under Bonjour Tristesse’s gorgeous surface lie profound insights into life’s emotional shifts. Chiefly, it examines the turmoil of adolescence—that period when one steps from carefree youth into an aware maturity. Nowhere is this more evident than through Cécile.

As her idyllic summer wanes and responsibilities approach, Cécile embodies restless dissatisfaction with impermanence. Her world centered on indulgent days alongside Raymond and Cyril, Anne’s arrival upends what Cécile knows. Yet her plan to remove this disruption shows how unready Cécile is to relinquish childhood comforts. Even in rare moments of self-awareness, she fails to fully grasp others’ perspectives.

Cécile’s deep bond with Raymond, while wholesome, leaves her unprepared for independence. Facing instability within this core relationship triggers fears of losing control. Anne represents the accountability and reliability Cécile lacks but needs. Their fiery dynamic, played out through Sevigny and McInerny’s masterful work, shows two strong-willed women wrestling with change.

For Raymond, cast through life by lost love and new diversions, stability equally threatens. Clinging to playfulness protects him from emotional availability he likely fears. Like Cécile, only through confronting instability head-on does growth become possible. End-of-summer collapses force characters past denial into new planes of self-understanding, however unwillingly reached.

With empathy and insight, Bonjour Tristesse penetrates turmoil universal to its characters’ experiences, yet intimately rendered. Summer’s fleeting nature parallels life’s constant shifts. Only by embracing change with courage, not rebellion, can one emerge transformed instead of broken by its breakers. In portraying growth’s beauty amid life’s difficulties, Chew-Bose taps wisdom well beyond her years.

Novel Meets Screen

Transferring Sagan’s intimate novel to screen posed challenges, but Chew-Bose navigated them deftly. Certain subplots were understandably shortened to tighten focus on Cécile, yet her brash spirit and Raymond’s magnetism remain intact.

While technology updates saw the iPhone replace rotary phones, greater changes were wisely avoided. By largely maintaining Sagan’s mid-century setting, Chew-Bose channels the novel’s atmospheric nostalgia without seeming anachronistic. Even character dialects remain period-flavored versus modernized.

Constraint was also faced in visualizing Cécile’s inner journey. But where profound insights could not be directly depicted, skillful performances filled the void. McInerny and Sevigny convey volumes through subtle gestures and fleeting expressions alone.

Chew-Bose excels at condensing sprawling tales while retaining their essence. Her deft cutting did not compromise emotional veracity, instead trimming narrative fat to intensify pivotal moments. The result feels neither overly condensed nor needlessly extended, honoring Sagan’s poignant pacing.

Faithful to the novel’s essence, the film nonetheless carved its own identity. Its lush Mediterranean setting provides a gorgeous backdrop for interpreting familiar characters and melodies afresh. In so doing, Chew-Bose succeeds in paying tribute while crafting a new artistic wonder from Sagan’s enduring material. Hers proves an adaptation that stands as more than an illustration of the original—but an equally powerful standalone work.

Closing Reflections

With Bonjour Tristesse, Chew-Bose announces herself as a director of immense promise. Deftly has she translated Sagan’s intimate novel—its ephemeral joys, smoldering tensions, and piercing insights on life’s impermanence—for the screen. Backed by virtuosic collaborators, her cinema blooms with visual poetry that invites lingering like Cécile’s splendid yet bittersweet summer.

While certain grounded scenes play at a languid waltz, Chew-Bose proves a maestro of the meaningful pause. Space opens for her cast to breathe profound depths into each fleeting gesture, making introspective leaps across their smoldering glances. McInerny, Bang, and Sevigny emerge not merely as skilled performers but as intuitive conduits for complex emotions.

Critics may find cause to favor brisker thrill-rides over Bonjour Tristesse’s ruminative spells. Yet for admirers of character-driven tales told with artsy flair, Chew-Bose offers an assured debut well worth savoring. Hers is a cinema rich with resonant truths—as soothing in impact as Sagan’s tale remains after years, yet haunting long after credits roll. In Cécile’s poignant coming-of-age, a director proves herself an exciting new voice with clarity of vision and feel for life’s bittersweet lessons. Promising indeed is a career thus boldly launched.

The Review