Working at a ski resort, county bumbkin Marianne (Patricia Novarini) stumbles into Parisian tourist Bob (Bob Asklöf), whom she mistakes for a professional photographer. And since he's rather fond of her looks, he's more than happy to keep up that facade, and it's not long before they have sex. Now for Bob, she was nothing but a one-night stand, but Marianne has seriously fallen in love with him, so much so that she ditches her long-time boyfriend Marc (Gilles Signard) and forces Bob to take her to Paris with him. Bob is at first at best annoyed, but he soon starts to see the possibilities, as he not only uses her as his sex toy but also opens her sexually, using her as his nude and eventually porn model, then easing her way into light (but profitable) prostitution. Marianne's not too ok with all of this, but she's also very much in love with Bob. Then Bob is invited by his boss (Alain Quercy) and the boss's wife (Evelyne Gaillard) to a swinger club, and of course he brings Marianne along, hoping she'll draw all the attention to herself while he can shoot photos for a little blackmailing scheme he has dreamed up. But he's captured taken photos and thrown out of the club while his camera's confiscated, and with him out of the picture, Marianne's gangraped. And after all these eye-opening experiences, Marianne returns back to the ski resort, and to Marc who has been waiting for her all this time.

Now this is a movie that hasn't really aged well: It's clearly made from a male perspective, and thus its views on women and female sexuality feel somewhat cynical, not to say misogynist - basically this is a film about a girl being tricked into prostitution, and the guy who has orchestrated it all is portrayed pretty much as a loveable rogue while the main blame is put on the girl herself. Of course, all of this is seen strictly from today's point of view, with today's morals in mind - which actually almost makes this film worth a watch as a time capsule ... but I'll put the emphasis on "almost" here as taken by its own terms, the film's not particuarly well-made, and is in its imagery rather tame compared to its story, so the titilation factor's rather low. What remains is at least some nostalgic fun painfully out of tune with today's political correctness.

review © by Mike Haberfelner

 

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