Une belle fille comme moi (1972)

François Truffaut's films never cease to amaze. Most have a gritty sense of reality softened with black humor and light touches, and the rest are kick-ass lessons in drama or period filmmaking. "Les 400 coups" was a Cannes winner, "La niut americaine" an Oscar winner, "La mariée était en noir" was a box office hit and an inspiration for the likes of Brian dePalma or Tarantino, the Doinel quintology is in another level entirely, etc, etc. Off course that some of his "lighter" films are forgotten, seldom seen or discussed. I have seen about 20 of his 25 films, and "Une belle fille comme moi" was one of those less known and less talked about I had never seen. Yet, once again, I was blown away. One can see why this is not hailed as a "masterpiece", the simple storyline and the simple way it is delivered denies those major perfect scenes by which movies are remembered. Yet it cannot be denied that "Une belle fille comme moi" is an amazing black comedy, brilliant all the way, and one which attacks, quite beautifully, hidden among its lighter structure, the judicial system, and mostly the psychologists' justifications for behavior. In "Les 400 coups" we had little inklings of Truffauts perspective on what the "system" devised as excuses for the behavior of juvenile delinquents, but here the attack is full frontal. Made in 1972 between the period drama "Les deux Anglaises et le continent" (1971) and his most successful american film "La nuit americaine" (1973), "Une belle fille comme moi" narrates the story of voluptuous Camille Bliss (Bernadette Lafont). She is in prison for murder and receives the visits of a sociologist (André Dussollier), who is trying to write a book on woman criminals. She tells him in flashback her adventures, in which she basically beds every man in sight in order to climb the social ladder and pursue her dream of being a singer. Off course that what her voice over says to the sociologist is not exactly what we see happen on screen... The body pile builds up, due to "accidents", and she juggles 4 lovers until the events lead up to her capture. Yet, as the interviews progress, the sociologists seems about to become another victim of Camille's charms, and events can take a major twist! With an incredibly simple plot, Truffaut fires his shots directly at the judicial system, at the same time as he, very humorously, adds elements of noir films, as the femme fatale jumps from one lover to another, turning ones against the others, so that she can come out on top. After a few years in prison, she has also the talent still to juggle with the sociologist, which can be her ticket to freedom. It may not be very believable, but many movies have been made with similar plots but with way less quality. Truffaut proves once again his marvelous comic timing, and how he can make a social commentary without forcing a dramatic view on the audience. This will please for the movie itself, and not for its underlying message. For that, this is a great film, and I don't understand why this is not among Truffaut's masterpieces. Enjoyed it very, very much (more so than other supposed Truffaut's masterpieces).