Bernadette is dressed in white as she rides
her bike to the river. Five boys follow and
admire her from a distance. Since they
aren’t old enough to court her they decide
to obstruct her love story with Gérard, but
they are unsuccessful. The two lovers are
thinking about getting married but then
Gérard dies in an accident. The news
doesn’t have any effect on the boys and
they forget their passion for Bernadette,
who is now always dressed in black.
François Truffaut (Paris, France, 1932 - Neuilly-sur-Seine, France, 1984), after lackluster studies, various jobs and a short period in a reformatory, was invited by André Bazin to collaborate on “Cahiers du cinéma” in 1953. After making a few shorts, in 1959 his debut feature film, The 400 Blows, made him one of the protagonists of the nouvelle vague alongside Chabrol, Godard, Rivette and Rohmer. This was the start of a long and variegated filmography which made him one of the most famous and influential directors in film history.
Les quatre cents coups (I 400 colpi, 1959), Tirez sur le pianiste (Tirate sul pianista, 1960), Jules et Jim (Jules e Jim, 1962), Fahrenheit 451 (id., 1966), La mariée était en noir (La sposa in nero, 1968), La sirène du Mississipi (La mia droga si chiama Julie, 1969), La nuit américaine (Effetto notte, 1973), L’histoire d’Adèle H. (Adele H., una storia d’amore, 1975), L’homme qui aimait les femmes (L’uomo che amava le donne, 1977), La chambre verte (La camera verde, 1978), Le dernier métro (L’ultimo metrò, 1980), Vivement dimanche! (Finalmente domenica!, 1983).
Plot: dalla novella di Maurice Pons contenuta nella raccolta "Virginales".
Director of photography: Jean Malige.
Editor: Cécile Decugis.
Music: Maurice Le Roux.
Cast and characters: Bernadette Lafont (Bernadette), Gérard Blain (Gérard), e "les mistons".
Direttore di Production company: Robert Lachenay.
Production company: Les Films du Carrosse.