Love Is My Profession (1958) User Reviews (20)

Gets better with every viewing

[adrian290357 · 8/10 · 16 February 2009]

This is not a particularly well known movie among the anglophone crowd but it is definitely very advanced for its year of production, 1958. Yvette Maudet ("maudit" means accursed in French) as portrayed by Bardot is a constantly split personality that seems utterly unable to decide whether she wants the wealthy but old and not overly attractive Gabin or the young and handsome, but poor, Gaston. The way she enlists the services of Gabin as her lawyer is memorable and the scene so graphic and far ahead of its time that it was cut!

Curvaceous 22-year-old blonde Bardot is to die for but it is Gabin that carries the film with a masterly performance. Look out for Feuillere in role of Gabin's wife. She is apparently liberal and allows the affair to unfold and develop in the belief that her husband will eventually come back and she will remain in control of the marriage. Watch how she puts away her glasses when he comes into her bedroom so she looks more attractive to him... even though she knows she cannot compete with the much younger and voluptuous BB. Watch her loyalty to her husband as she sees him run after the mirage of young and callously carefree beauty, and she sees his business collapse and begin to affect her own life.

There is more: There is the extremely competent direction, an engrossing screenplay, and bewitching photography from director Autant-Lara and his team. It provides no happy end but this film has so much to offer that I can only encourage you to not miss it, dear reader.

The most controversial of Bardot's films

[Nazi_Fighter_David · 8/10 · 24 July 2005]

The phenomenal success of the Bardot myth, like that of James Dean which just preceded it, was very much the immediate response of the youth public to a need they felt in themselves and which Bardot was the first young girl to realize on the screen…

In Claude Autant-Lara's film, Bardot came off as more than a sexual image, her persona giving life to the character she portrayed... The film contained of the most erotic scenes of her career: Brigitte was called on to raise her skirt in order to convince a skeptical lawyer to represent her case!

In her frank demand for sexual pleasure Bardot is without any feminine guile, and the film contrasts her 'honesty,' for what it is worth, with the sophisticated behavior of the 'woman of the world' played by Edwige Feuillère…

Gabin and Feuillère, dubious at first of appearing with her, claimed subsequently to have found her charming and intelligent, but at the same time nervous, full of self-doubt, and uncertain both of her talent and her beauty

EN CAS DE MALHEUR (Claude Autant-Lara, 1958) ***

[Bunuel1976 · 7/10 · 24 January 2010]

The film under review closes off nicely Claude Autant-Lara's impeccable 15-year run of noteworthy pictures that had begun with 1943's DOUCE (see my upcoming rave review); it is also notable for being an unlikely but fairly successful meeting between the biggest (Jean Gabin) and hottest (Brigitte Bardot) stars in French Cinema at the time i.e. just before the outbreak of the "Nouvelle Vague" brought along a horde of fresh and irreverent talent. Adapted from a Georges Simenon novel, the plot of EN CAS DE MALHEUR is quite predictable and not entirely convincing but the consummate professionalism of all concerned smooths over any bumps that come up along the way. Bardot is an aimless youth who, together with her reluctant girlfriend, amateurishly attempts to pull off a small-time jewel heist that, inevitably, goes wrong and, eventually, picks up Gabin's name at random from a phone book to act as her defense counsel in court; not having the financial means to pay for his services, she elects to remunerate him in the only way she knows how: seduction. Although this particular sequence, as shown in the finished film, is disappointingly chaste, the deleted clip reproduced at the end of the copy I acquired is, however, too crude to be seen at such an early stage of the film and, in my opinion, the director was wise to jettison it; in any case, he did contrive to gives us a good look at the gloriously naked body (solely from the back, of course) of the 23-year old Bardot later on when she rushes out of the bathroom and into bed (much to the chagrin of Gabin's mousy secretary) of the apartment that Gabin provided her with! Needless to say, Gabin is already married (to the formidable Edwige Feuilliere) and, although on the surface she appears to condone Gabin's latest flirtation, she is obviously none too happy about it. To complicate matters further, Bardot is also seeing her irascible Italian lover (Franco Interlenghi) on the side and things come to a tragic head when she unwisely decides that loveless wealth is preferable to blissful poverty. Abetted by Jacques Natteau's noir-ish lighting and Rene' Cloerec's fine score, the colorful cast also includes three alumni from the films of Luis Bunuel, namely Julien Bertheau (appearing briefly at the very end as the investigating inspector at the scene of the crime passionel), Jean-Pierre Cassel (unbilled as an animated trumpeter, one of Bardot's casual lovers) and an unrecognizable Bernard Musson – and even Jacques Marin and Daniela Bianchi (also unrecognizable). While the film's 122-minute running time would seem overgenerous on paper, it is only the belated (and unnecessary) introduction of the character of Bardot's maid that makes one realize this as we lay watching; I strongly suspect that the film-makers wanted to push the boundaries of censorship even further by hinting at a possible ménage-a-trois between her, Bardot and Gabin but, perhaps thankfully, this is not made all that clear in the few scenes they share together…which is just as well since the huge difference in age between on screen lovers Gabin and Bardot and the above-mentioned nude scene had already raised the proverbial conservative eyebrows! For the record, the film was remade 40 years later as EN PLEIN COEUR aka IN ALL INNOCENCE with Virginie Ledoyen stepping into Bardot's 'shoes'.

STRANGE LITTLE MELODRAMA WITH BEAUTIFUL BARDOT!

[shepardjessica · 7/10 · 22 September 2004]

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.

Strong start, fades in second half

[gbill-74877 · 6/10 · 23 March 2021]

A film with legends Jean Gabin and Brigitte Bardot that starts off strong, but lags considerably after the first 40 minutes or so. Bardot plays a desperate woman who tries to rob a jeweler with her friend, but things go south and she ends up hammering an old woman with a crowbar. She turns to a lawyer (Gabin) and offers herself to him in exchange for him defending her. He has to knowingly violate the law to do so, so there are some pretty subversive elements to this film. One character says "In hunger, you can do what you like, and afterwards you mustn't feel ashamed," justifying the violent crime. In addition to Bardot hiking up her skirt and later capering about naked after a bath, it openly references adultery, abortion, female sexual desire, and a ménage à trois with the maid. The lawyer's beautiful wife (Edwige Feuillère) is fully aware of what her husband is up to and in one scene drops him off at his lover's hotel. She accepts his indiscretions but with painful reservations, and Feuillère is fantastic in her scenes - I wish there had been more of them. The lawyer's assistant (Madeleine Barbulée) is also an interesting, but underused character.

Where the film goes with the setup is to show that Bardot's character is in some ways just like Gabin's - she likes sex, and wants to have it both ways. She carries on with other men after he sets her up in an apartment as a "kept" woman, and one of them (Franco Interlenghi) gets obsessively attached. The film has her ping-ponging between the two of them as they grow successively more jealous of each other, and unfortunately many of the scenes lack sizzle and are too drawn out. Gabin is too stiff and dour throughout the film, especially when he's with Bardot. He's only 54 here but he seems tired, except when he's explaining to his wife the situation and the two grow animated. Overall the film's editing in the back half should have matched what we see early on, and it probably should have been much shorter than 117 minutes. Towards the end I didn't care what was going to happen to these characters, and found the ratcheted up music tiresome.

When There's No Confidence,There's No Magic, Only Realism

[boblipton · 6/10 · 23 December 2020]

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 invlving. The performances are great, but without the confidence of the director, there is no magic.

In case of misfortune.

[brogmiller · 8/10 · 5 November 2019]

I have no doubt that every cinephile has his or her own favourite adaptation of the prolific Belgian novelist Georges Simenon. This is certainly one of mine. It is directed by Claude Autant-Lara whose last great film this was before his downward curve. Jean Gabin had long since ceased to play the underdog pursued by implacable fate and here gives a faultless performance as a well-heeled, world-weary and somewhat shady lawyer. Brigitte Bardot, in probably her best role, is the tantalising coquette with whom he becomes infatuated. Bardot herself was dismissive of most films in her career, understandably so, although I would be very surprised if this were one of them. The film is beautifully shot by Jacques Nattau with an excellent score by the director's favoured composer Rene Cloerec. Mention must be made of the divine Edwige Feuiliere, one of the greatest actresses of her generation. In one of her best film roles of the 1950's she is tremendous as the wife who turns a blind eye to her husband's peccadilloes. Her character's attitude typifies the thin dividing line between complacency and complicity. As one would expect from this director this is a well-crafted and deeply cynical piece about the frailties of human nature and is one of those films that really gets under the skin.

Late 50's film with flawed characters

[wildpeace10 · 5/10 · 3 October 2007]

When we are first introduced to bardot's character,her charm doesn't get through because,first she's chewing gum & then she plans a robbery that ends up in her hitting an older lady on the head and face.

But when she gets to see a lawyer played by gabin and seduces him,we get seduced also by her character,at least for a little while.

Because you see,bardot is a free spirit that not only was selling drugs and sleeping around but that seems to want to have a relationship with both gabin et her old boyfriend.

Gabin is not always all that sympathetic of a character either.

He doesn't hesitate to bend or cheat the law to save bardot.

He hurts his wife mentally by having an affair and at first doesn't care that bardot is not a one man woman.

This film has a certain famous reputation for having been censored and the 2 second scene featuring bardot lefting her skirt exposing her backside(gabin apparently sees the lower front but we don't) is available on the french DVD.

It's hard to understand what the fuss was all about since past the 90 minutes,we also see bardot's butt in a slightly longer scene which wasn't censored.

While the old boyfriend has an obsession with bardot and isn't such a good character, nothing indicated that his jalousy would push him to commit a crime.

Yes,the film does indeed end with a sad conclusion which probably results in the film having a more powerful impact.

This black & white film is way too long. At first,you feel that everything is wrapped up in about the first 30 minutes & that the rest of the film was written afterwards.

Perhaps because i first saw bardot in pictures about ten years after this one,i'm more attracted to her older version in her less older films.

So in conclusion,this remains an interesting film but a very uneven one also.

good drama

[wrvisser-leusden-nl · 8/10 · 7 August 2003]

Brigitte Bardot, at the pinnacle of her career, plays a cheap whore committing a robbery. At her trial she is defended succesfully by the jet-set lawyer Gobillot, played by the great Jean Gabin. Needless to tell that Gobillot gets involved by Brigitte's charms, and that she becomes his mistress afterwards.

'En cas de malheur' shows fascinatingly the spell young, blond and beautiful Yvette (= BB) excercises on Gobillot - him getting into serious professional and marital trouble as a result. Of course Yvette meanwhile keeps involved with a lover of her own age.

The movie also bridges a generation gap. It really is the splendid youthful beauty of Bardot against the magnificent acting by the mature Gabin and Edwige Feuillière (who plays madame Gobillot).

The greatest thing about this good movie is, I think, that Brigitte accepted second billing after Gabin. At the height of her breathtaking career she did just that, and the results show her right.

You may be interested to know that the story of 'Malheur' was written by Georges Simenon. He is a Belgian who became famous all over Europe for his detective-novels, featuring policeman Maigret. Also interesting is that Gabin had a love affair with Marlène Dietrich (at the end of the forties, I believe). So he knew about beautiful actresses: when Brigitte met him for the first time on the set of 'Malheur', she was so over-awed that she spoke her lines wrongly. Gabin, understanding, made a few mistakes himself in his lines - purposely, thus putting Brigitte at ease. It worked.

The end of 'Malheur' fits well: Yvette is murdered by her lover, the young one. A crime out of jealousy.

Dual star vehicle is disappointing and overlong

[gridoon2024 · 3/10 · 30 November 2019]

"En Cas De Malheur" seems to have a pedigree that can't miss - Jean Gabin and Brigitte Bardot star, the script is based on a Georges Simenon novel - but it does miss, badly. The stars have no chemistry (the age difference is simply impossible to ignore), and about 95% of the story is a trivial love triangle, far removed from the suspenser Simenon's name (and the DVD covers) might suggest; a dark ending provides a mild jolt, but is not enough to save the movie. * out of 4.

Paris When It Sizzles

[bob998 · 8/10 · 29 May 2014]

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.

Worth seeing for Gabin's performance

[runamokprods · 8/10 · 23 July 2011]

Well acted, especially by Jean Gabin, and there's no denying Bridget Bardot's sex appeal, although a more gifted actress might have made both the character and the whole film deeper.

A middle aged attorney (Gabin) falls for a sexy young client (Bardot) after she bungles a stick up. They carry on an open affair with her, as Gabin's wife keeps waiting for him to come home, and as Bardot keeps vacillating between her older, stable lover, and her hot, volatile young boyfriend.

Never boring, but stays pretty much on the surface most of the time, with an oddly light tone. However, the ending twist is quite moving, and gives the whole film a deeper resonance than it would have otherwise.

Brief Encounter

[writers_reign · 8/10 · 6 October 2012]

It's often interesting and sometimes entertaining to witness one generation of actors sharing the screen with the next, sometimes handing the torch over gracefully, sometimes dangling it in front of the newcomer and sending the tacit message 'take it - if you think you can carry it. We've seen it with Yves Montand and Gerard Depardieu in Le Choix des armes, with Gabin himself and Alain Delon in Melodie en sous- sol and here we have Gabin again but more pertinently Edwige Feuilliere facing up to Brigitte Bardot. I am arguably one of a small handful of heterosexual men who have never been able to see what all the fuss was about in the case of Marilyn Monroe and Brigitte Bardot. It would be foolish in incorrect to say they were totally inept and Monroe especially managed to appear in several films with real actors, like Clash By Night, All About Eve, The Ashphalt Jungle, Don't Bother To Knock and, of course, Some Like It Hot but only in the last title did she achieve above-the-title billing. En cas du malheur is fascinating to people like me who love French cinema because it was released in 1958 which was just about the time those petulant schoolboys from Cahiers du Cinema were doing their best to destroy it and replace it with Amateur Night. Start with the script; a novel by Georges Simenon who had been providing material for French cinema since the earliest days of sound, add Jean Aurenche and Pierre Bost who, beginning with Douce in 1943, had written no less than ten outstanding screenplays, largely adaptations from novels and in so doing had managed to get right up the nose of Truffaut, quel dommage. With en cas de malheur they did it again even as Truffaut and Godard were preparing to take to the streets with their hand-held Arris and Nagras and egos the size of a Sound Stage at MGM. Throw in Gabin and Feuilliere and you have as good a definition of the finest in French cinema as any. Call me odd but while I wouldn't cross a room let alone a street to get next to Bardot I'd cross deserts if Feuilliere was on the other side. I guess I've always preferred Class to Cute. Be that as it may this is a fine movie and well worth adding to your DVD collection.

Like seeing how close to the cliff edge you can stand.

[1930s_Time_Machine · 8/10 · 7 March 2024]

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.

Very good!

[RodrigAndrisan · 10/10 · 22 March 2021]

Excellent interpretation of Jean Gabin, especially in the final scene, when he sees Yvette (Brigitte Bardot) dead, very emotional! Brigitte Bardot, she's herself impeccable in the role of a beautiful double-dealing young woman. Very good Edwige Feuillère in the role of the cheated, resigned wife. Nicole Berger, she's also good in the role of the maid, Franco Interlenghi is good as the lover and Madeleine Barbulée is good too as the secretary. This movie is worth more than 6.7, it's worth 10, it's probably the best film of the Gabin- Bardot couple and an extremely sensitive film signed Claude Autant-Lara. Claude Autant-Lara also directed other very good films, which I saw when I was a teenager, such as: "The Red and the Black" (1954)Le rouge et le noir (original title) with Gérard Philipe, "Four Bags Full" (1956)La traversée de Paris (original title) with the same Jean Gabin and Bourvil, "A Woman in White "(1965)Journal d'une femme en blanc (original title) with Marie-José Nat.

Brigitte at the top of the world

[brigittesalvador · 9/10 · 12 September 2022]

In 1957 BB was the top star of the world, and the most beautiful and this very nice movie show her at the peak of her beautiful, she ,jean gabin , Edwige Feuillère,, at really great,,BB was good in it beside her look and body BB=body beautiful,,love the movie is dated in some way and modern in others, but is worh to see it.in many country this movie was abig hit, idont know in usa since is a very conservative country and here is a woman sexy and free as BB was in real life, Bardot dont care much about this movie...watch this movie with an open mine and remember is a movei fronm the 50s of the 20 century.

Love rectangle .

[ulicknormanowen · 8/10 · 23 September 2020]

In spite of received ideas ,Brigitte Bardot found her two best parts directed by old wave directors: "en cas de malheur" by Claude Autant-Lara,and "la vérité" by Henri -Georges Clouzot. In his follow-up to another classic ,"la traversée de Paris " ,Autant-Lara is much more at ease in Simenon's world than in Highsmith's ("Le meurtrier").

Both "en cas de malheur " and " la vérité " show BB au naturel : a young woman ,whose firm independence of men is obvious ,who likes sex but does not make it a big deal.

The traditional love triangle is some kind of rectangle :the traditional old buck whose wife is aging and who goes through his midlife crisis falls for a girl who has already had many lovers and who is still having an affair with a young man,twice younger than the wealthy bourgeois.

Although she appreciates luxury , Yvette is not that much interested in her older lover's dough, social climbing and bourgeois life style are not hers ;the way she treats her maid (Nicole Berger,who was featured in Autant-Lara's earlier "le blé en herbe" ,and who was to die at an early age in a car crash) is revealing:she accomodates her in the spare room , she does not follow the golden name of the game in which a servant must address a master in the third person ,she considers her a friend.Autant-Lara ,long before Chabrol , painted the bourgeoisie vitriol style (see " douce" "le bon dieu sans confession " "occupe -toi d'Amélie " and others).In her naivete (holding a shopkeeper at gunpoint -with a toy revolver),cheeky Yvette explodes the bourgeois order.

A bourgeoisie represented by a -rather shady, all in all- lawyer (Gabin in perhaps his last great role ) .As the movie progresses ,the character is more and more overtaken by events and his young lover's behaviour must elude him ,in spite of his self-confidence ;his wife is like an extinct volcano ; superbly played by Edwige Feuillère in her low-key performance , this lady never loses her dignity ,she's resigned ,it was probably a marriage of convenience ,no children were born from their marital union .Funny that in the earlier "le blé en herbe" ,Feuillère was a very attractive woman, seducing a boy who was half her age .

In the first sequences ,the director integrates the visit of the Queen of England in France in the late fifties ;few directors have a firm grip on reality/topicality like him : the end of WW1 in "le diable au corps ", Algeria War and the conscientious objector status in " tu ne tueras point" , women's rights in "journal d'une femme en blanc" .

BB ,when she was directed by a great director, was more than a sex symbol.

one of the great classic "Simenon" adaptations

[myriamlenys · 8/10 · 24 September 2019]

Two poverty-stricken ladies of the night decide to rob a tiny jewellery store. The hold-up turns into a wicked farce, with one of the perpetrators severely beating the old jeweller's wife. Realizing that she is in a world of trouble, the woman who administered the beating goes looking for a good barrister. She does not have enough money to pay a fee, but she does look stunning in high heels and garters...

"En cas de malheur" is closer to a psychological drama than to a thriller or crime movie. It unites a dream cast which includes two "sacred monsters" of French cinema, to wit Jean Gabin and Brigitte Bardot. Both Gabin and Bardot are in fine mettle and the result draws sparks. Bardot, by the way, has rarely been more beautiful and I'm sure that the sight of her play-acting in a soubrette uniform must have floored millions of men.

The movie boldly attacks the French legal system - or rather, the various dishonest and unjust lawyers who crawl all over the system, like ants crawling over a dying mouse. In the movie, two old people get attacked by two prostitutes ; it is a serious crime, but at least the perpetrators have the twin excuse of lack of education and lack of money. In a later stage, both victims get attacked again, this time in a courtroom full of people, by a lawyer who does not care about details like truth and facts. This lawyer is rich ; he just wants to get richer still while gaining access to a prime piece of female flesh.

Moreover, the lawyer is a well-respected member of society : a career full of clever strategies and sharp moves has earned him an opulent house, a cultured wife, the admiration of his peers. Well, you know what they say, a criminal lawyer is someone who knows that crime pays...

The movie is blessed with a fine musical score, including good trumpet music.

One of 10 best films of all time

[udippel · 9/10 · 28 July 2019]

Okay, that's just me. But whenever I have the chance to watch this one, I gladly do it. The censor might have taken out many scenes, but that doesn't hurt it, maybe it even helped it. Because, to me, as an old-fashioned type, I don't have to SEE things, I don't expect cinema to be realistic, I can well do with hints. Maybe that's why I love Buñuel, and that's why I love this one. No sex, no blood, but overboarding with hints. And not at all sparing the complexities of human behaviour, trust, betrayal, envy, jealousy. Almost everyone in this movie plays a part in Divina Commedia. Attraction, the wife of the attorney who'd loved to be loved, the self-asserted lawyer, his secretary who's secretly in love, the musician, the medical student, maybe even the maid, truthfulness, the lack of it, and everyone seemingly unable to escape from their .. shall we call it destiny? I can barely imagine - or know about? - another movie that is this dense with one of the great secrets yet unexplained in the lives of us humans: what is love? Many commentators don't seem to get this point. Obviously there IS quite a lot of love in this movie. Up to killing someone for being unable to stand separation. Condensed, I'd call it, what has been going on between humans since the dawn of time. When does affection turn into urge, into giving oneself up?

I'll never forget the scene in the garden. When do we dare to shout out at night, to the world and to the stars, "I AM HAPPY!" One says that women are fickle, and here it shows. At that moment the hero is totally at ease with herself. This movie doesn't take sides, it doesn't show us the good and the bad types. It simply observes compatriots. Taking out the scenery from the 1950s, it is a timeless movie.