"Only a woman could dare to make this film."
Though married to the good-natured, beautiful Thérèse, young husband and father François finds himself falling unquestioningly into an affair with an attractive postal worker. One of Agnès Varda's most provocative films, 'Le bonheur' examines, with a deceptively cheery palette and the spirited strains of Mozart, the ideas of fidelity and happiness in a modern, self-centered world.
Jean-Claude Drouot
François Chevalier
Claire Drouot
Thérèse Chevalier
Olivier Drouot
Pierrot Chevalier
Sandrine Drouot
Gisou Chevalier
Marie-France Boyer
Émilie Savignard
Marcelle Faure-Bertin
Bertin
Manon Lanclos
Mrs. Mesquier
Sylvia Saurel
Yvette Mercier
Marc Eyraud
Joseph Chevalier
Though married to the good-natured, beautiful Thérèse, young husband and father François finds himself falling unquestioningly into an affair with an attractive postal worker. One of Agnès Varda's most provocative films, 'Le bonheur' examines, with a deceptively cheery palette and the spirited strains of Mozart, the ideas of fidelity and happiness in a modern, self-centered world.
Ha! Talk about having your cake and eating it! "François" (Jean-Claude Drouot) is happily married to "Thérèse" (Claire Drouot) and living in a small apartment with their two children "Pierrot" and "Gisou". They are a loving couple and seem perfectly content with life. Then "François" is despatched to do some work away from home and when calling his boss from the post office encounters "Émilie" (Marie-France Boyer) with whom he swaps a smile. That's just the beginning as the two chat a little, flirt a little and then... Now he isn't a bad man in any malevolent sense, he genuinely loves his wife and makes it clear to his new friend that she will always take priority - a situation that "Émilie" appears to be quite willing to accept - albeit reservedly. Thing is, on a family picnic he decides that it's only fair that his wife know the truth. On the face of it, at least that's an half way honest thing to do but, well you'll have to watch and see. There’s something unnervingly inconclusive about this film. Nobody is inherently bad or evil or even deliberately thoughtless, yet he is possibly one of the most selfish people I've ever seen (benignly) portrayed in cinema. He genuinely thinks his cherry-picking, almost like a job-share, arrangement will satisfy these women. It's tightly cast with a sufficient minimum of dialogue to augment a story that is surprisingly thought-provoking to watch. Maybe a little over-scored but well worth eighty minutes before a denouement that might make you want to look your own partner in the eye! Or maybe into a mirror...?
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