Love Is My Profession

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.

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.

Brigitte Bardot et amie invade a jeweler's shop and rob him. While they are doing so, a woman enters and complicates matters, so they knock her out. She may die. The friend is picked up, and Bardot heads to the well known defense lawyer, Jean Gabin. She has no money, so she raises her skirts. Gabin says nothing, gets her off, and then they begin an affair. Gabin is married to Edwige Feuillère. Bardot sleeps around, but says she loves Gabin, even as she has regular horizontal sessions with communist medical student Claude Magnier.

It's a last flare of Pepe Le Moko for Gabin. He's no longer the young criminal. He's older. He's solid. He's married, and Bardot is his last chance for.... if not love, then sexual obsession. Yet director Claude Autant-Lara is no poetic realist. The sexuality of his characters is not cloaked in symbols. It's Bardot walking around naked for a few seconds, it's Bardot and Magnier wearing the same sweater. To show they are linked.... and they must comment on it. There's no need for the audience to dig, it's all laid out for them, and as a result, it's less involving. The performances are great, but without the confidence of the director, there is no magic.

The two hours of this film fly by as your mind is transposed into the heads of both Yvette AND André. Director Autant-Lara's skill is that he allows you to live this story through both of his protagonists' eyes.

Almost instantly you are whisked off to 1959 in this time machine. When you're there you feel uncomfortable, the mood is tense but there's still some humour to keep you going. Unlike some films which give you a flavour of the time they were made in, this one doesn't just give you a sense of 1959, it makes your mind think like it would have in 1959. You are there, you are living in Paris at the end of the 50s, you always have and your attitudes are like neighbours.

André, played infused stoic passion played brilliantly by M. Gabin, like any man with breath in him, cannot of course resist the naive seductive allure of Mlle. Bardot. He behaves utterly stupidly but maybe because it's Brigitte Bardot who's making him do this you don't just understand but can see yourself doing this same thing as well. You find yourself living his life. It must be that empathy engendered by the cleverness of this film which makes you personally feel scared of the consequences of your actions.....even though they're the actions of a dead actor playing a fictitious role written by the guy who wrote Maigret.

Films which drag you into the story are few and far between so treasure this one.

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.