Dominique, a law student at the Sorbonne, is engaged to a fellow classmate. Unfortunately, she's more attracted to his philandering Uncle Luc, who's married to the charming Françoise. Domini... Read allDominique, a law student at the Sorbonne, is engaged to a fellow classmate. Unfortunately, she's more attracted to his philandering Uncle Luc, who's married to the charming Françoise. Dominique and Luc begin a tawdry affair.Dominique, a law student at the Sorbonne, is engaged to a fellow classmate. Unfortunately, she's more attracted to his philandering Uncle Luc, who's married to the charming Françoise. Dominique and Luc begin a tawdry affair.
- Director
- Writers
- Stars
- Nominated for 3 Oscars
- 4 nominations total
Christine Carère
- Dominique Vallon
- (as Christine Carere)
Edit Angold
- Cook
- (uncredited)
Herman Belmonte
- Club Patron
- (uncredited)
Sheryl Deauville
- Contessa at Opera
- (uncredited)
Gabrille Del Valle
- South American
- (uncredited)
David Hoffman
- Concierge
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
It has some beautiful scenery, and a very hummable theme song, but other than that it's not very effective. Director Negulesco did much better with the studio-bound "Best of Everything." One doesn't really care about any of these self-involved people (well, maybe a little for the Joan Fontaine character). Zero chemistry between supposed lovers Brazzi and Carrere. For some much better film adaptations of Francoise Sagan novels, try Bonjour Tristesse and Aimez Vous Brahms (in which Yves Montand plays the same compulsive-womanizer type as Brazzi in "Smile," but somewhat more compellingly). I have to admit that Sagan's characters in general are pretty boring to me.
Francoise Sagan's novel, tailor-made for sunbathers on the Riviera, has been adapted into the kind of schoolgirl-romantic movie the book deserves. French law student in Paris, a petite lass with doe-eyes, meets her fiancé's family for the first time: his wealthy snob of a mother, her overly-solicitous daughter and the daughter's husband, a suave charmer with a seductive manner. This older man takes the girl for a walk alone in the garden and kisses her; soon after, on a secret date, he proclaims his love for her. Twentieth-Century Fox had high hopes for new discovery Christine Carère, French film actress brought to Hollywood to dazzle Americans audiences. She followed this picture later the same year with the musical "Mardi Gras", but audiences weren't smitten and it's clear why. Carère's English is thick and astonished-sounding, her smile flirtatious, her stare coquettish and knowing. It isn't clear how much of a flirt or a tease this girl is meant to be, but when her heartbreak comes and Alfred Newman's romantic music is poured over the images, it's clear we're supposed to be mad about her. Although Carère's performance improves in the film's third act, it would take a gallant screen lover to find her irresistible. Seasoned pro Rossano Brazzi tries, much to his chagrin. ** from ****
Attractive looking romance fails to fully engage, despite glorious landscapes, Parisian backdrops and a glamorous A-list cast including a memorable performance by an enchanting Joan Fontaine. Her apparently fading allure is causing her husband Luc (Brazzi) to philander, his attentions straying to the nubile Parisian college student Dominique (Carere). To add to the evolving interlude, Brazzi is Bertrand's (Dillman) uncle, who in turn is enamoured by Dominique, chasing her tail all over Paris in spite of her sometimes erratic and distant behaviour (although Bertrand himself might be a little overbearing and loose with the vermouth).
At the intermission, Johnny Mathis steps up to croon the title tune, and thus escalates Luc's affections for a playful Dominique, partially inebriated on the grape juice. Fontaine seems to suspect Luc may be straying, displaying some subtle gestures, her wisdom laboured over years of Luc's infidelity. The scene in which Fontaine emasculates Brazzi for his adultery, and the one in which she coolly chides Carere's naivety are among the film's dramatic highlights. In essence, Fontaine steals this picture with her mature, dignified portrayal of a woman scorned.
Carere on the other hand is lukewarm, the nuances of her character aren't conveyed in her stilted performance; Brazzi, at the opposite extreme, lays it on too thick, like some hormonal Latin lover crying rivers of guilt and remorse as he laments the mutual attraction as some kind of perverse affliction of which he can't be cured. Dillman, in his debut picture, offers some character depth, but ends up merely a tragic cuckold and bystander in this colourful melodrama. The remainder of the supporting cast (Franz, Locke and Livingston) are reliable if largely uninvolved.
Next to Fontaine, the French Riviera is the most attractive feature - the sets, costumes, colour and sound are all assets, but the dramatic tone never seems to sustain the right pitch. Tepid and a little overlong if however you still revere Fontaine, or pine for the Paris lifestyle, this glossy magazine cover might still be worth the time.
At the intermission, Johnny Mathis steps up to croon the title tune, and thus escalates Luc's affections for a playful Dominique, partially inebriated on the grape juice. Fontaine seems to suspect Luc may be straying, displaying some subtle gestures, her wisdom laboured over years of Luc's infidelity. The scene in which Fontaine emasculates Brazzi for his adultery, and the one in which she coolly chides Carere's naivety are among the film's dramatic highlights. In essence, Fontaine steals this picture with her mature, dignified portrayal of a woman scorned.
Carere on the other hand is lukewarm, the nuances of her character aren't conveyed in her stilted performance; Brazzi, at the opposite extreme, lays it on too thick, like some hormonal Latin lover crying rivers of guilt and remorse as he laments the mutual attraction as some kind of perverse affliction of which he can't be cured. Dillman, in his debut picture, offers some character depth, but ends up merely a tragic cuckold and bystander in this colourful melodrama. The remainder of the supporting cast (Franz, Locke and Livingston) are reliable if largely uninvolved.
Next to Fontaine, the French Riviera is the most attractive feature - the sets, costumes, colour and sound are all assets, but the dramatic tone never seems to sustain the right pitch. Tepid and a little overlong if however you still revere Fontaine, or pine for the Paris lifestyle, this glossy magazine cover might still be worth the time.
Bertrand (Bradford Dillman) is engaged to Dominique (Christine Carère). He takes her to see his aunt and uncle (Joan Fontaine and Rosanno Brazzi) and almost immediately, the uncle puts the moves on Dominique...and she acquiesces. Something tells me that this isn't going to end well.
"A Certain Smile" is a romance which just didn't work for me. Part of it is because the 'romance' isn't exactly romance...it's a married man having an affair with an engaged woman. It's hard to like either because of this. The young lady isn't a particularly engaging character or actress. And, the man just comes off as some 'dirty old man' by the way he acts and comes on to her. Additionally, Françoise (Joan Fontaine) is an odd character...as I think she's supposed to be French but sure didn't talk as if she was French! As for Bertrand (Bradford Dillman) is also supposed to be French but sounds 100% American. Overall, a film which looks good but fell flat for me...though I can see some enjoyed it quite a bit.
"A Certain Smile" is a romance which just didn't work for me. Part of it is because the 'romance' isn't exactly romance...it's a married man having an affair with an engaged woman. It's hard to like either because of this. The young lady isn't a particularly engaging character or actress. And, the man just comes off as some 'dirty old man' by the way he acts and comes on to her. Additionally, Françoise (Joan Fontaine) is an odd character...as I think she's supposed to be French but sure didn't talk as if she was French! As for Bertrand (Bradford Dillman) is also supposed to be French but sounds 100% American. Overall, a film which looks good but fell flat for me...though I can see some enjoyed it quite a bit.
Here's a film that's boosted by its spectacular scenic splendor and a lovely title tune, A CERTAIN SMILE, sung by Johnny Mathis and immediately becoming one of his favorite hit tunes, which is about the only thing that will linger in your memory once the tawdry tale is over.
The simple story is a trifle (as all of Francoise Sagan's novels are), dealing as it does with the subject of flirtation and affairs. The affair is between a pretty young law student studying at the Sorbonne, CHRISTINE CARRERE, and ROSSANO BRAZZI, her Uncle Luc who is married to the sophisticated JOAN FONTAINE. Christine is also being pursued by a fellow law student, BRADFORD DILLMAN, but seems to prefer Brazzi's continental charm to callow youth.
Most of the trite story centers on the budding romance between Brazzi and Carrere, leaving Fontaine on the sidelines wondering what the glances between the two really mean. Does it really matter? She gazes with sophisticated charm at Johnny Mathis as he sings "A Certain Smile", all the while knowing that her husband is a philanderer.
It really has nothing new to say, but can be enjoyed on the basis of its CinemaScope grandeur and the performances of the leads, all of whom have done better work elsewhere and are pretty much wasted here.
The simple story is a trifle (as all of Francoise Sagan's novels are), dealing as it does with the subject of flirtation and affairs. The affair is between a pretty young law student studying at the Sorbonne, CHRISTINE CARRERE, and ROSSANO BRAZZI, her Uncle Luc who is married to the sophisticated JOAN FONTAINE. Christine is also being pursued by a fellow law student, BRADFORD DILLMAN, but seems to prefer Brazzi's continental charm to callow youth.
Most of the trite story centers on the budding romance between Brazzi and Carrere, leaving Fontaine on the sidelines wondering what the glances between the two really mean. Does it really matter? She gazes with sophisticated charm at Johnny Mathis as he sings "A Certain Smile", all the while knowing that her husband is a philanderer.
It really has nothing new to say, but can be enjoyed on the basis of its CinemaScope grandeur and the performances of the leads, all of whom have done better work elsewhere and are pretty much wasted here.
Did you know
- TriviaThe first feature film of Bradford Dillman.
- ConnectionsReferenced in You Bet Your Life: Episode #9.33 (1959)
- How long is A Certain Smile?Powered by Alexa
Details
- Runtime
- 1h 44m(104 min)
- Color
- Aspect ratio
- 2.35 : 1
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