Private life (film)
| Movie | |
|---|---|
| German title | Private life |
| Original title | Vie privée |
| Country of production |
France Italy |
| original language |
French Italian |
| Publishing year | 1962 |
| length | 104 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Louis Malle |
| script | Louis Malle Jean Ferry Jean-Paul Rappeneau |
| production |
Christine Gouze-Renal Jacques Bar |
| music | Fiorenzi Carpi |
| camera | Henri Decaë |
| cut | Kenout Peltier |
| occupation | |
| |
Private life (Original title: Vie privée ) is a French-Italian drama by Louis Malle from 1962 with Brigitte Bardot and Marcello Mastroianni in the leading roles.
The film takes up some aspects of the life and the great celebrity of Bardot: the mixed perception of the actress between immoral sex symbol and serious film star, the suppression of private life by the over-interested public and paparazzi .
action
18-year-old Jill lives with her parents in a posh estate in Geneva . Like her friend Carla, she is a dancer, practices ballet and meets up with her friend Dick, Carla and her husband Fabio Rinaldi to celebrate together. Dick goes to Paris one day and Jill decides to follow him. In Paris she realizes that she is dissatisfied with her life. Neither the dance nor the relationship with Dick fulfills her, especially since she does not love Dick. When he criticizes her excessively at a dance rehearsal, she slaps him and leaves. Out of defiance, she stays in Paris, earns her living as a model and finally comes to film. She loves the camera and Jill rises to become a film star in no time.
Three years later she is considered the epitome of sin, appears constantly in the gossip press with changing lovers and can no longer dare to take a step unrecognized on the street. When she meets the cleaning lady of the house in the elevator to her apartment, she insults her as immoral. Jill begins to suffer from the constant surveillance of her life. When she attends a premiere under pressure from her producer, she is so harassed by the crowd that she collapses. She is admitted to a clinic and a little later is secretly on her way to Geneva with her doctor Juliette in disguise. Here she wants to stay in her mother Cecile's house. However, her mother is not there and so Jill goes to the theater director Fabio Rinaldi, since he is the only person in Geneva that she still knows. Fabio accompanies them to their mother's house, where they find a spare key. Jill settles in her room and wants to be left alone. Juliette leads the paparazzi to the house, which is now under siege. Fabio smuggles Jill out of the house and into his apartment the next day. In the meantime he has divorced Carla because she had gone to Rome with her dance troupe .
Jill spends the first few days alone in Fabio's apartment and tries to kill himself in his bathtub. Fabio finds her in time and promises not to leave her alone from now on. Both become a couple, even if Fabio fears that she and her previous lovers will eventually drop him. Jill, however, had already fallen in love with Fabio three years ago in Geneva, but suppressed her feelings in favor of her friend Carla. Jill and Fabio live together in Fabio's apartment for a while, which Jill does not leave for fear of the crowd outside. However, one day Fabio has to go to Spoleto in Italy. He translated Heinrich von Kleist's play Das Käthchen von Heilbronn into Italian and played a key role in planning the performance in the open-air theater in Spoleto. Now rehearsals stop there shortly before the premiere and Fabio is needed on site. There are only two weeks left until the premiere. Since Jill doesn't want to be alone, she moves to live with her mother in Geneva, whose house is soon massively besieged. Jill's producer appears and wants to force the young actress to return to Paris. She wants to get out of the film business, but the producer gives her seven days to reflect. Otherwise, he wants to sue her for breach of contract.
Jill drives to Fabio in Spoleto to get some advice from him. At first nobody recognizes her in Spoleto, but here Jill meets a well-known photographer, Alain, who puts her photo in the newspaper. Soon rehearsals for the play are made difficult by the presence of onlookers and paparazzi who want to see Jill. First of all, she is grateful for the presence of the photographers in the palace, in which she has a room, because she is not bored that way. At some point, however, Fabio throws Alain and his companions out because Jill has a right to privacy. Alain declares war on Fabio, and the paparazzi besiege the roofs of the palace to get a photo of Jill. Fabio moves her to a higher room in the palace. On the day of the play's premiere, there is a heated argument between Fabio and Jill. Fabio doesn't want Jill to sit in the audience for the play premiere because of the uproar that is expected. Jill accuses him of holding her in the palace and being ashamed of her. A little later in the audience, Fabio meets Carla, who doesn't understand why Jill shouldn't be in the audience. Fabio tries to invite Jill to the premiere, but she refuses. During the premiere, Jill climbs out of her window onto the roof of the palace unnoticed and watches the staging from above. She changes her position several times in order to get the best possible perspective on the stage and comes close to the abyss. Fabio sees her upstairs when Alain takes photos of Jill with flash from a window. Surprised and blinded, Jill loses her balance and falls into the depths. If so, her facial features are relaxed and almost happy.
production
Private life arose locally in Geneva, Paris and Spoleto. The scenes in Spoleto mainly take place in the town's market, in front of and not far from the cathedral. The theater performance planned by Fabio as part of the Festival dei Due Mondi will also take place here. The interior shots of the film were shot in the Franstudio in Saint-Maurice .
Brigitte Bardot's costumes were created by Marie Martine and Réal, and Bernard Evein designed the film . The voice -over artist is Jean-Claude Brialy . Volker Schlöndorff was involved in the making of the film as an assistant director. Brigitte Bardot sings the guitar accompaniment to the poem Sidonie by Charles Cros , which was set to music by Jean-Max Rivière and Jean Spanos .
The film was released in French cinemas on January 31, 1962. It was shown in German cinemas on April 19, 1962 and was also shown in GDR cinemas on November 23, 1962. The German television premieres were on January 2, 1971 (ARD) and October 25, 1986 ( DFF 2 ).
Private life shows numerous parallels to Brigitte Bardot's life. The Spiegel wrote in 1962 that Jill and Brigitte Bardot had an identical biography until Jill attempted suicide; the film character also has "facial and character traits of the film star BB ...". As early as 1961, Der Spiegel wrote in a report that Bardot was “filming her 'private life' in Geneva”. Even individual details of the plot come from Bardot's own experience, such as the abuse by the cleaning lady in the elevator, which was toned down for the film. “The swearwords that were actually used would have been removed by the censors. And the woman's attempt to gouge out Brigitte Bardot's eyes would not have been bought by the audience, ”reported Louis Malle in an interview. Later critics found that although Brigitte Bardot's life is not retold in the film, "the character of Jill [but] was undoubtedly modeled on her".
synchronization
| role | actor | Voice actor |
|---|---|---|
| Jill | Brigitte Bardot | Margot Leonard |
| Fabio | Marcello Mastroianni | Peer Schmidt |
| Thick | Dirk Sanders | Peter Nestler |
| Maxim | Paul Sorèze | Klaus Miedel |
| Cecile | Eléonore Hirt | Friedel Schuster |
| Gricha | Gregory of Rezzori | Kurt Waitzmann |
| Carla | Ursula Kubler | Agi Prandhoff |
| Photographer Alain | Antoine Roblot | Ottokar Runze |
| Servant Albert | Christian de Tilliere | Horst Keitel |
criticism
"The film, which oscillates between realism and fairytale tone, looks like an intelligent exercise in style," wrote Der Spiegel on the occasion of the film's 1962 German premiere.
Dieter Krusche called the film a critical analysis of the path from model to star and the public's reaction to this star. This is represented "as subject and object of manipulation". Krusche states that Malle staged this analysis "impressively beautifully, whereby a large number of effective ideas here become a useful dramaturgical medium."
“The formally remarkable film pays homage to a Bardot myth that was new at the time: by declaring the scandal heroine a victim of the sensation-hungry society, it proclaims her personal innocence,” wrote the film-dienst . Cinema , found that Brigitte Bardot “for the first time not only [act] as an actress, but also as her own myth. [...] Conclusion: homage to the sex goddess of the 1960s ”.
Web links
- Privacy in the Internet Movie Database (English)
Individual evidence
- ↑ Humble before reality . In: Der Spiegel , No. 27, 1966, p. 97.
- ↑ a b Elevator to the scaffold . In: Der Spiegel , No. 8, 1962, p. 83.
- ↑ Brigitte Bardot . In: Der Spiegel , No. 25, 1961, p. 79.
- ^ A b Dieter Krusche: Lexicon of the movies. From silent films to today . Bertelsmann, Gütersloh 1977, p. 616.
- ↑ See synchronkartei.de
- ↑ New in Germany: private life (France / Italy) . In: Der Spiegel , No. 18, 1962, p. 88.
- ↑ private life. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ↑ See cinema.de