This film maintains interest because of it's duality of purpose and accomplishment. It is, at once, a witty "battle of the sexes" repartee vehicle, while making it's essential points via humor, instead of using more direct means. It does this while portraying the film's protagonist as a shallow, womanizing predator, thus many female viewers, recognizing the type, will resent this film.
But, throughout the film, the male anti-hero is disarmingly honest as to his superficiality, and his lack of commitment intentions with his many female "love interests," which, of course, poses a distinct challenge to them all, and makes him all the more desirable and successful in his dalliances.
Bardot, nearing 35 when this film was made, is nevertheless coquettish and cute, and no pushover for the man's sexual aggressiveness, giving her an independent ambiance and a social maturity aspect not readily found in her earlier films.
Wonderfully sensual and intellectually deep in her on-again, off-again role as Maurice Ronet's primary non-Bardot love interest in the film, is Kristina Holm, in her solitary film credit I can find listed. Anney Duperey is saddled with a self-conscious "virginal mentality" role, which does neither her nor the film any positive service. This is a waste of a beautiful young woman's considerable talent and charm.
The film has a nice balance of interior shots, as well as urban and countryside locations. I find it's innate charm, light-hearted buoyancy, and nicely-edited, agreeably-paced style perfect for an evening's entertainment.
But, throughout the film, the male anti-hero is disarmingly honest as to his superficiality, and his lack of commitment intentions with his many female "love interests," which, of course, poses a distinct challenge to them all, and makes him all the more desirable and successful in his dalliances.
Bardot, nearing 35 when this film was made, is nevertheless coquettish and cute, and no pushover for the man's sexual aggressiveness, giving her an independent ambiance and a social maturity aspect not readily found in her earlier films.
Wonderfully sensual and intellectually deep in her on-again, off-again role as Maurice Ronet's primary non-Bardot love interest in the film, is Kristina Holm, in her solitary film credit I can find listed. Anney Duperey is saddled with a self-conscious "virginal mentality" role, which does neither her nor the film any positive service. This is a waste of a beautiful young woman's considerable talent and charm.
The film has a nice balance of interior shots, as well as urban and countryside locations. I find it's innate charm, light-hearted buoyancy, and nicely-edited, agreeably-paced style perfect for an evening's entertainment.