A new selection of Movies We Love! starting with the 1961 sudser GOODBYE AGAIN (others to include BLACK NARCISSUS, JOHNNY GUITAR, A LETTER TO 3 WIVES, ALL ABOUT EVE, NORTH TO ALASKA, LEGEND OF THE LOST, DONA HERLINDA AND HER SON, A BIGGER SPLASH, THE HISTORY OF ADELE H, WILD RIVER and ooh several others...)
GOODBYE AGAIN is a nice entry to those early '60s sudsers like IMITATION OF LIFE, THE BEST OF EVERYTHING, A SUMMER PLACE, BACK STREET, ADA etc. this is a rather low-key one though in black and white, and again we zoom around Paris in the early 60s with rich spoilt Tony Perkins, and his rich bitch mother Jessie Royce Landis (a good role for Jessie here).
It is Ingrid Bergman's show though as 40ish Paula, a successful interior decorator, hired by Jessie and getting involved with her son Tony. Paula has been carrying on for 5 years with businessman Yves Montand who is certainly having his cake and eating it, often letting Paula down at the last minute when he picks up a new 'Maisie' (he calls them all Maisie...). Paula is used to this but longs for commitment. Tony is going to provide it in spades as he follows, woos, flatters and finally gets Paula, which of course in turn makes Montand jealous. There are nicely judged moments along the way as our stars eat, drink, dance and drive around Paris by day and night. Perkins' little boy act gets a bit tiresome actually - he has a nice drunk scene in a nightclub with singer Diahann Carroll, and interesting to see British actress Alison Legatt (the spinster sister in THIS HAPPY BREED) sharing his office where Perkins pretends to work.
Francoise Sagan's novel is nicely adapted here, though the end is amusing now - Paula sends Perkins away saying she is "too old" [Ingrid too old at 40!], when Montand decides to marry her - as his single life isn't quite so satisfying without her to return to. But once married he reverts to his old ways with a new Maisie, leaving Paula on her own again, rubbing night lotion into her face. A nice touch too is when she is driving and crying so she turns on the windscreen wipers as she thinks it is raining.
GOODBYE AGAIN is a nice entry to those early '60s sudsers like IMITATION OF LIFE, THE BEST OF EVERYTHING, A SUMMER PLACE, BACK STREET, ADA etc. this is a rather low-key one though in black and white, and again we zoom around Paris in the early 60s with rich spoilt Tony Perkins, and his rich bitch mother Jessie Royce Landis (a good role for Jessie here). It is Ingrid Bergman's show though as 40ish Paula, a successful interior decorator, hired by Jessie and getting involved with her son Tony. Paula has been carrying on for 5 years with businessman Yves Montand who is certainly having his cake and eating it, often letting Paula down at the last minute when he picks up a new 'Maisie' (he calls them all Maisie...). Paula is used to this but longs for commitment. Tony is going to provide it in spades as he follows, woos, flatters and finally gets Paula, which of course in turn makes Montand jealous. There are nicely judged moments along the way as our stars eat, drink, dance and drive around Paris by day and night. Perkins' little boy act gets a bit tiresome actually - he has a nice drunk scene in a nightclub with singer Diahann Carroll, and interesting to see British actress Alison Legatt (the spinster sister in THIS HAPPY BREED) sharing his office where Perkins pretends to work.
Francoise Sagan's novel is nicely adapted here, though the end is amusing now - Paula sends Perkins away saying she is "too old" [Ingrid too old at 40!], when Montand decides to marry her - as his single life isn't quite so satisfying without her to return to. But once married he reverts to his old ways with a new Maisie, leaving Paula on her own again, rubbing night lotion into her face. A nice touch too is when she is driving and crying so she turns on the windscreen wipers as she thinks it is raining.
The older female does not fare too well in these Sagan stories: Kerr in BONJOUR TRISTESSE, Joan Fontaine in A CERTAIN SMILE or Bergman as Paula here. Litvak was good with actresses, viz his films with Davis, De Havilland, Kerr (THE JOURNEY) and Bergman previously in ANASTASIA. This is a nicely satisfying soap - Perkins after PSYCHO had a good run in Europe with some super ladies: Ingrid here, Mercouri (PHAEDRA), Orson's THE TRIAL with Moreau and Romy, with Loren again in FIVE MILES TO MIDNIGHT in '62 and Bardot in THE RAVISHING IDIOT.
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