``A Gorgeous Girl Like Me'' Bernadette Lafont, who fascinated Truffaut, and her appearance as a freedom fighter

“A Gorgeous Girl Like Me” synopsis

Sociologist Stanislas Previn visited a women's prison. Her purpose was to interview inmates in order to write a paper on the motivations and psychology of female criminals. Previn interviewed Camille Bliss, who is in prison for pushing her boyfriend off a tower. However, as he visits her regularly and hears about her strange life, Previn himself becomes fascinated by her. Believing in her innocence, he flies to the scene to get to the bottom of the incident, but...

Index

• forever new girl
• Dear Bernadette
• A daughter engaged to freedom

forever new girl

"It's a feminist film, not just in the sense of serving women or in the women's lib sense, but in the sense of ``loving, not judging'' the way each woman lives." (François Truffaut)*

Bernadette Lafon is reincarnated many times. Camille (Bernadette Lafon) in ``A Gorgeous Girl Like Me'' (72) repeatedly faces major turning points that force her to start her life over again. However, every time she does so, she is both spectacular and reborn like a beast, running at the forefront of the times with all her might while performing an out-of-tune singing voice. As François Truffaut said, the image of an absolute heroine, as if the actor's life was only there. Lafont's ferocious energy is injected into the breathtaking rhythm of Truffaut's work. Camille rushes from one end of the frame to the other at a furious pace. speed! speed! speed! Camille's newness is eternal.

“A Gorgeous Girl Like Me” Preview

Much of the appeal of this work owes to Lafon's talent. Truffaut believes in Lafont's explosive power and lets her tell everything. And the image of Camille as a heroine is far removed from the worship of women by male writers. Camille is not a femme fatale burdened with the image of an ideal woman. She is not a woman entrusted with providing some kind of revelation when someone is facing difficulties in life. She lives for her own happiness. Truffaut dares to let go of Lafon's reins within the framework of a movie. And they both relish this freedom. As a result, Camille, a ``female criminal,'' surpasses even the image of a heroine in Truffaut's work.

Noah Baumbach and Greta Gerwig used Georges Delerue's theme song in Frances Ha (12) as a tribute to Camille-Bernadette Lafont. . Baumbach and Gerwig probably chose Camille in this work as the ideal model for a new woman who will survive in a new era.

Dear Bernadette