Finding her performances in The Story of Adele H and Deadly Circuit to be fabulous,I decided to check Isabelle Adjani's IMDb page. A huge fan of auteur Jacques Becker,I was excited to find that Adjani had worked with Jacques son Jean, which led to me looking forward to the Summer season.View on the film:Not making anything else until a segment in 1991's Lest We Forget,director Jean Becker shows here what could have been,with a highly distinctive style,that retains the elegance of his dad Jacques production, but is proudly it's own creation. Wiggling Elle into the Montecciari family life, Becker and his cinematographer brother Étienne give the first half a lush Erotic rural Drama atmosphere,with sharp outdoor lighting giving the many naked appearances of Elle a sensually-charged mood,and the warm,golden glow within the Montecciari household colouring the cold shoulders and snide remarks Elle gets from family members. Closely working with editor Jacques Witta,Becker undresses Elle's flirting with tightly-coiled editing that brings to light a mystery in her family life, that gains clarity with each note Elle hits on a secret that her parents have locked from her sight.Adapting his own novel,Sébastien Japrisot wonderfully draws each member of the Montecciari family with quirks that abrasively rub against Elle, from the hot and cold romance of Pin-Pon and the frozen glances from the mother, to the fragile attempt at friendship from a half-deaf relative. Gathering the pieces to Elle's family life, Japrisot displays an excellent maturity to the horrors inflicted on her family,with exchanges between Elle and her locked behind a door dad allowing Japrisot to peel open the psychological damage that the secret has had on Elle. Looking ravishing from her first appearance,Adjani gives an incredible performance as Elle,who is given a sexual swagger in the naked scenes,which keeps the mental fragility just underneath the skin during this one deadly Summer.

In spring 1976, a 19-year-old beauty, her German-born mother, and her crippled father move to the town of a firefighter nicknamed Pin-Pon. Everyone notices the provocative Eliane. She singles out Pin-Pon and soon is crying on his shoulder (she's myopic and hates her reputation as a dunce and as easy); she moves in with him, knits baby clothes, and plans their wedding. Is this love or some kind of plot? There is so much going on in this film. Initially, it appears to be from the perspective of Pin-Pon and his obsession with a woman who may be the town bicycle. But we only hear his thoughts some of the time. In other moments, we get Eliane's thoughts (as well as memories), and other people take certain scenes as the narrator, too. This only adds to the layer of mystery about what is all going on.One thing that makes this film very French and not very American is the excessive nudity. Isabelle Adjani spends a fair amount of time in various stages of undress. This is never really necessary, but really says more about French attitudes than anything else. I do not feel like it was meant to be exploitative or sensational.

French actor, screenwriter and director Jean Becker's fifth feature film is an adaptation of a novel from 1977 by French director, screenwriter and author Sébastien Raprisot (1931-2003) who wrote the screenplay for the film. It premiered In competition at the 36th Cannes International Film Festival in 1983, was shot on various locations in France and is a French production which was produced by producer Christine Beytout. It tells the story about a flirtatious and ambiguous nineteen-year-old woman named Eliane Wieck who one hot summer returns to her hometown in provincial France with her German mother and handicapped father. Eliane's provocative behaviour makes everyone in town notice her and causes suspiciousness amongst the inhabitants, but one day she is approached by a nice local car mechanic named Fiorimonti who immediately falls in love with her, and a relationship begins to evolve.Finely and engagingly directed by French filmmaker Jean Becker, this finely tuned fictional tale which is narrated by Alain Souchon and mostly from his and the female protagonist's viewpoints, draws an intriguing and multifaceted portrayal of a traumatized and truth-seeking young woman who puts on a facade, acting like a poorly raised child, in order to find the truth about her past. While notable for it's warm and bright countryside milieu depictions, sterling cinematography by cinematographer Etienne Becker, production design by production designer Jean-Claude Gallouin and costume design by costume designer Therese Ripaud, this character-driven story about family relations, vengeance and love, depicts a dark study of character and contains a cryptic and efficient score by French composer Georges Delerue. This thoroughly written thriller and plot-twisting psychological drama from the early 1980s where a French stranger makes her presence known, is impelled and reinforced by it's engaging literary narrative structure, substantial character development, subtle continuity, strong contrasts, impending atmosphere, French actress Isabelle Adjani's prominent acting performance as a bewitching femme fatale in a very complicated role and the fine acting performances by French actor Alain Souchon and French actress Suzanne Flon (1918-2005). An unsettling and diversely romantic mystery which gained the award for Best Actress Isabelle Adjani, Best Supporting actress Suzanne Flon, Best Editing and Best Writing - Adaptation at the 9th César Awards in 1984 and was nominated for the Palme d'Or at the 36th Cannes Film Festival in 1983.

There are some elements of this movie that are extremely interesting. The problem is, the plot is quite muddled and it looks as if two different movies had been spliced together. One movie was about a nymph who loved sex and got raunchy with EVERYONE (including Mom) and the other is a Hitchcock-like suspense movie about revenge. Combined, they just don't work. As a sex film, it doesn't quite work and as a suspense it has problems as well because of the inexplicable story elements. I have absolutely no idea why, out of the blue, this 20 year-old opens her mother's blouse and begins sucking her Mom's breast or renews a sexual affair with an older female teacher or walks around naked in front of her mother in law, smacks her father over the head repeatedly with a shovel after he fondles her butt or sleeps with LOTS of different men. All these sexcapades distract from the main story line. In addition, at times her character just seems rather dumb and if she's just "winging it" when it comes to her convoluted plot for revenge.The first half of the movie is the problem, as most of the 2nd half is excellent. If it were remade, it could be a fantastic film.