Froster

This anthology ranges from the truly terrible (Vadim) to the merely mediocre (Malle) to the tedious but tolerable (Fellini). Much has been made of how the last is a “lost” masterwork, but one must have a high opinion of Fellini to begin with to actually celebrate the find. (Although there is some spectacular art direction, it do go on and on. And on). Vadim’s reputation diminishes with every passing moment, and to have captivated three of the screen’s reigning goddesses in quick succession, he must have had SOME BIG TALENT. (Unfortunately, it was not for making films). One of those goddesses, Bardot, actually shows up in the Louis Malle segment, although her terrible coif makes you fear for her life (It looks like she got her head deeply stuck in a beehive). Fonda, on the other hand, is totally committed to the absurd proceedings. It is just another example of her terrible decisions captured for eternity by the camera. If you blink, however, you’ll miss Malle’s sly tribute to the masterpiece “Zero par Conduite”. It is the only witty thing to be found in these truly lugubrious footnotes to these film makers careers.

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