sca, a seventeen-year-old Roman, is finally sure she has found love. Almost sure. She spends the day observing other lovers' behaviors and considering whether she is ready to jump. Her age notwithstanding, this movie is more about coming of age than about improper or illegal romantic relationships.
Les adolescentes, Dulces engaños, Les Adolescentes, 스윗 디셉션스, 甜蜜的欺骗
Italy 
USA 
TP Italy USA
Catherine Spaak's first film and it is quite a star-making vehicle with almost every shot focusing on her. Only 15 at the time of production, she carries the film with ease.
Director Alberto Lattuada was following up his 1957 hit Guendalina with another coming-of-age film focused on a young women. I'm realizing that this is before Kubrick's Lolita and Varda's Cléo from 5 to 7, so it might be one of the first films to tackle this subject matter in this way... a contemplative portrait of a journey of through inner struggles and self-discovery. Anybody know what film have come before this one that influenced?
Restored by The Bologna Film Library and screened in the Restored Prints Section at Cannes Film Festival 2003.
Director of the Month - Alberto Lattuda
A teenage girl's sexual coming-of-age film. Similar in some ways to Lattuada's Guendalina from 3 years earlier, this differs in its focus on the hesitancy that accompanies the awakening of desire. It's also the first film of Catherine Spaak, age 15 at the time but playing the 17 year old sca.
The film opens with sa awakening from an erotic dream, aroused but confused. Set over the course of a single day, the film continues in variations on the interplay between sexual curiosity and ambivalence. sca's crush on 37 year old architect Enrico (Christian Marquand) a friend of her family who's oblivious to her but gradually responds to her flirtation. She and her…
—¿Qué te pasa?
—Nada. Soy feliz.
🎼 Hasta la vista
Dame tu mano y sonríe
sin llanto
Hasta la vista
Por una vez
fingir es bello
Desafiamos al amor
por jugar un poco
y ahora fingimos dejarnos
por un tiempo solo.
A coming of age tale of maturity and depth, exploring the burgeoning sexuality and the lure of adulthood. Handled gracefully by Lattuada especially the final minutes which are of genuine high quality with an excellent last shot. Shot gorgeously in b/w and carried brilliantly by a 15-year old Catherine Spaak, this is very very solid.
"Every time we speak about love, it makes me hungry."
Ravished by reactionary censorship, which muddles theme and flow, Lattuada's coming-of-age tale nonetheless retains its tone of absolute dread. Equally loose and eloquent as films by contemporaries Pietrangeli, Bolognini, and Zurlini, utilizing all that modern Italy has to offer, yet differentiated by an eschewal of humor. sa, on her spiritual way to adolescence, glides solemnly through alleys and corridors, forcing herself into the role of observer, yet has the weight of expectation, of perceived necessity, of inevitability, attached to her every step, for each gets her closer to it.
With the film, Lattuada cements himself as one of those great tertiary Italian directors, who, protean by nature, could, in that…
An ethereally beautiful Catherine Spaak roaming around a sunny Rome and the nearby countryside in gorgeous monochrome to the beat of a jazzy score as she contemplates whether or not she's ready to embark on her first love affair is one of the coolest movie experiences I've had in a long, long time. Those Italians were pretty darn great at movie making at the time and here's the proof in a concise ninety minutes. Alberto Lattuada, you were a genius..
--
Vegan alert:
-Dead dog
-Mother wears furs
-Chicken in cognac
-Enrico (Christian Marquand) orders ham, cheese, and salami, and mentions he had caviar for lunch
The film's scenario is very simple. It could be summed up in 21st-century vocabulary as follows: a middle-class 17-year-old girl wakes up one morning with the vague intuition that she'll lose her virginity during the day.
Having chosen a family friend twenty years her senior, she spends the day wandering the city, the countryside and even meets a princess who is infatuated with a young gigolo who lives off her.
There's only one point of view in this film, that of the young girl played by Catherine Spaak, who was only 15 at the time of shooting. Director Alberto Lattuada, who has made a career of directing beautiful women, delivers an astonishing first scene, filming Catherine Spaak at length as…
‘I dolci inganni’ is a film of tender nature where the character exploration or the acceptance of a budding sexuality is undertaken from the perspective of femininity. The unadulterated innocence in the personality however gets kept intact and unaffected by the materialism, the realization of physical desire and the effects of transitory age. It is a timeless work of art in a very Varda-esque manner that accurately portrays the turbulence of adolescence without destroying it's much nurtured credulousness.
84/100
"Sei triste?"
"Non si tratta di tristezza, è diverso."
" Che cos'hai?"
"Non lo so. O forse lo so. Ma è così difficile spiegare."
خیلی بده... هنوز جوونیم ولی همین الانشم خیلی چیزا رو از یاد بردیم.
I turbamenti amorosi della quindicenne Catherine Spaak in un delizioso trattato di esistenzialismo adolescenziale. Il film in realtà è poco più di un pretesto, un diafano ritratto a tinte moraviane dell'annoiata borghesia romana, influenzato da quello che allora veniva definito il "lolitismo imperante" (siamo in anticipo di un paio d'anni rispetto a Kubrick) e dal decadentismo alla Flaiano, ma il modo in cui Lattuada accarezza e coccola la sua protagonista, il modo in cui le danza attorno, il modo in cui ne dipinge l'acerba ma conturbante sensualità, è irresistibile. Scandalo all'epoca, perseguitato dalla censura, rivisto oggi ha anche il merito di giocare d'anticipo rispetto a quelli che di lì a breve sarebbero diventati i canoni del nuovo divismo al femminile.
