La ragazza del peccato

Gorgeous Brigitte Bardot is perfect as the mixed-up, spoiled young woman carrying on with an older attorney (Jean Gabin)who sets up her own fate. Mr. Gabin has always been a marvelous actor with a commanding presence at all times. Nice music and cinematography, but it's Ms. Bardot who makes it worthwhile. Beside her looks and sex appeal, her personality always shines through and she seems very comfortable on screen, even at a young age.

A 7 out of 10. Best performance = B. Bardot. You never quite knew where this film was going to end up, but it reaches a touching ending of closure for all concerned.

A film with legends Jean Gabin and Brigitte Bardot that starts off strong, but lags considerably after the first 40 minutes or so. Bardot plays a desperate woman who tries to rob a jeweler with her friend, but things go south and she ends up hammering an old woman with a crowbar. She turns to a lawyer (Gabin) and offers herself to him in exchange for him defending her. He has to knowingly violate the law to do so, so there are some pretty subversive elements to this film. One character says "In hunger, you can do what you like, and afterwards you mustn't feel ashamed," justifying the violent crime. In addition to Bardot hiking up her skirt and later capering about naked after a bath, it openly references adultery, abortion, female sexual desire, and a ménage à trois with the maid. The lawyer's beautiful wife (Edwige Feuillère) is fully aware of what her husband is up to and in one scene drops him off at his lover's hotel. She accepts his indiscretions but with painful reservations, and Feuillère is fantastic in her scenes - I wish there had been more of them. The lawyer's assistant (Madeleine Barbulée) is also an interesting, but underused character.

Where the film goes with the setup is to show that Bardot's character is in some ways just like Gabin's - she likes sex, and wants to have it both ways. She carries on with other men after he sets her up in an apartment as a "kept" woman, and one of them (Franco Interlenghi) gets obsessively attached. The film has her ping-ponging between the two of them as they grow successively more jealous of each other, and unfortunately many of the scenes lack sizzle and are too drawn out. Gabin is too stiff and dour throughout the film, especially when he's with Bardot. He's only 54 here but he seems tired, except when he's explaining to his wife the situation and the two grow animated. Overall the film's editing in the back half should have matched what we see early on, and it probably should have been much shorter than 117 minutes. Towards the end I didn't care what was going to happen to these characters, and found the ratcheted up music tiresome.

I didn't expect much from this one, but I was very pleasantly surprised. Gabin plays very well, and Bardot manages to be uncomplicatedly sexy. Her character is smart but lacking formal education (much like Bardot herself, I've often felt), and she shows us she can burn up the screen. Pulling an armed robbery with an accomplice, then trying to seduce Gabin so that he'll agree to be her lawyer--she never turns a hair on her beautiful blonde head.

The two principals are surrounded by superb actors. Edwige Feuillere, after making L'Aigle a deux tetes and Le ble en herbe, had become the grande dame of French cinema (sort of what Meryl Streep is for us now) and here she is superb as the resourceful wife who is fairly sure she can deal with the threat posed by Bardot. Franco Interlenghi gives a deft performance as the young lover Mazetti--tough, a little vulgar, not willing to give Bardot up.

Autant-Lara had to make a concession to 50's morality when dealing with Yvette's sexuality. Simenon shows us she is bisexual and very easy with her affections with the maid Janine as well as with the two men in her life. On screen we see very little of this: the censors could be happy.

The film under review closes off nicely Claude Autant-Lara's impeccable 15-year run of noteworthy pictures that had begun with 1943's DOUCE (see my upcoming rave review); it is also notable for being an unlikely but fairly successful meeting between the biggest (Jean Gabin) and hottest (Brigitte Bardot) stars in French Cinema at the time i.e. just before the outbreak of the "Nouvelle Vague" brought along a horde of fresh and irreverent talent. Adapted from a Georges Simenon novel, the plot of EN CAS DE MALHEUR is quite predictable and not entirely convincing but the consummate professionalism of all concerned smooths over any bumps that come up along the way. Bardot is an aimless youth who, together with her reluctant girlfriend, amateurishly attempts to pull off a small-time jewel heist that, inevitably, goes wrong and, eventually, picks up Gabin's name at random from a phone book to act as her defense counsel in court; not having the financial means to pay for his services, she elects to remunerate him in the only way she knows how: seduction. Although this particular sequence, as shown in the finished film, is disappointingly chaste, the deleted clip reproduced at the end of the copy I acquired is, however, too crude to be seen at such an early stage of the film and, in my opinion, the director was wise to jettison it; in any case, he did contrive to gives us a good look at the gloriously naked body (solely from the back, of course) of the 23-year old Bardot later on when she rushes out of the bathroom and into bed (much to the chagrin of Gabin's mousy secretary) of the apartment that Gabin provided her with! Needless to say, Gabin is already married (to the formidable Edwige Feuilliere) and, although on the surface she appears to condone Gabin's latest flirtation, she is obviously none too happy about it. To complicate matters further, Bardot is also seeing her irascible Italian lover (Franco Interlenghi) on the side and things come to a tragic head when she unwisely decides that loveless wealth is preferable to blissful poverty. Abetted by Jacques Natteau's noir-ish lighting and Rene' Cloerec's fine score, the colorful cast also includes three alumni from the films of Luis Bunuel, namely Julien Bertheau (appearing briefly at the very end as the investigating inspector at the scene of the crime passionel), Jean-Pierre Cassel (unbilled as an animated trumpeter, one of Bardot's casual lovers) and an unrecognizable Bernard Musson – and even Jacques Marin and Daniela Bianchi (also unrecognizable). While the film's 122-minute running time would seem overgenerous on paper, it is only the belated (and unnecessary) introduction of the character of Bardot's maid that makes one realize this as we lay watching; I strongly suspect that the film-makers wanted to push the boundaries of censorship even further by hinting at a possible ménage-a-trois between her, Bardot and Gabin but, perhaps thankfully, this is not made all that clear in the few scenes they share together…which is just as well since the huge difference in age between on screen lovers Gabin and Bardot and the above-mentioned nude scene had already raised the proverbial conservative eyebrows! For the record, the film was remade 40 years later as EN PLEIN COEUR aka IN ALL INNOCENCE with Virginie Ledoyen stepping into Bardot's 'shoes'.

Almost 35 years before Sharon Stone in BASIC INSTINCT (1992), French actress Brigitte Bardot offered unexpected insights. Bardot fights with the weapons of a woman in a film actually titled EN CAS DE MALHEUR.

Together with a friend, the young Yvette (Brigitte Bardot) commits an amateurish robbery somewhere in Paris, just as the young English Queen Elizabeth is visiting the city on the Seine. An experienced criminal defense attorney (Jean Gabin) actually succeeds in using unfair means to help the devious Yvette secure an acquittal. Of course, the price must be paid. The criminal defense attorney quickly falls for the beautiful thief, which also has significant consequences for the lawyer's loyal wife (Edwige Feuillere) and Yvette's Italian lover (Franco Interlenghi). Even when the lawyer transports Yvette and a maid (Nicole BERGER) to the provinces, the problems don't stop.

At the height of her stardom, Brigitte BARDOT acts on a par with French acting legend Jean GABIN. Such a vibrant drama, full of corruption and sexual addiction, could only have been created in France in the 1950s. In German-speaking countries, audiences had to wait for the films of Rainer Werner FASSBINDER.

The supporting actors in EN CAS DE MALHEUR are also excellent. Edwige Feuillere (1907-1998) draws on all her Parisian stage experience. Nicole BERGER (1934-1967) is known from A GIRL FROM FLANDERS with the later Academy Award winner Maximilian SCHELL. Franco Interlenghi (1931-2015) had already played one of the shoe shiners in Vittorio De Sica's neorealist classic of the same name. He also played Telemachus, the son of Odysseus (Kirk Douglas), in The Voyages of Ulysses (1954), based on Homer's epic.