That this film garners one terrible review after another is beyond me. Viewers must have turned up to see BB's nipples and left sorely disappointed.In truth, A Coeur Joie (A Field Day aka Two Weeks in September) is a searing portrait of a young woman trying desperately to cling to reality whilst being swept away in the frivolity of a passionate affair abroad.The angst drummed up by Bardot's Cecile is both stirring and utterly jarring. Has the story been told before? Sure. Has the story been told like this? Not through the eyes of such vulnerable avatars. The dialog beckons you to read between the lines. Every subtlety is captured almost impeccably from start to finish.When the spell is broken in the last frame you are very nearly left as breathless as Cecile.This celluloid gem glitters as it's all-but-forgotten like the best diamonds in the rough.

I've seen most of Brigitte Bardot's films and this one is typical in some ways but also pretty dull in others. Like so many of her films, you see lots of skin but no actual nudity--it's a lot of tease, that's for sure. And, like so many of her films, it's about a woman (Bardot) and her sexual awakening. But, unlike many of her other films, this one is pretty dull and seems less like a movie and more like watching a couple on a spy-cam meeting, talking (A LOT) and having sex (with all the naughty bits somehow hidden). It seems to pretty much glorify adultery and sings its praises--and this is bound to offend some and give vicarious thrills to others. The problem, though, is no matter how sexy Bardot is, the film looks sophisticated but down deep it is just dull and listless...and also seems to have very little to say other than 'give adultery a try'! Not particularly enjoyable.

Serge Bourguignon could be said to have started his career at the top and worked his way down."Cybèle Ou Les Dimanches De Ville D'Avray" is considered a good movie in France -when people remember it ,which remains to be seen-and a masterpiece of poetry abroad ."Cybèle" is unquestionably an impressive work ,which is not even available on DVD in its native country and never screened on TV.Such a work promised great things.They were never to happen.The follow-up,a western called "the reward" was the most inadequate sophomore effort after the golden start with "Cybèle";back in France ,he tried to repair the breach by casting our greatest sex symbol BB in his third work.It was a colossal flop and the beginning of the decline of BB at the box office :whereas "Viva Maria" was a huge success,"A Coeur Joie" did not make 25% of Louis Malle's movie gross .It got unanimous thumbs down .The cinematography is splendid ,so is BB ,but the movie,seen today ,seems like a spate of clichés with a screenplay which could take up just one sheet of cigarette paper: will the beautiful cover girl leave her bourgeois husband(Jean Rochefort in a ten-minute performance) for the wild boy (and his dog;as an animal rights activist -even at the time-BB was in love with both ,obviously)she met in a ball?Highly talented Laurent Terzieff deserved better than this uninteresting characterThe movie had enough in the sixties to make the audience dream;going to London was not as usual as it is today and BB has us visit the swinging London,its pop music -the choice of the songs is rather poor in the year which saw "Sgt Pepper's"-,its models in their miniskirts or in armors (?)photographed in London zoo (always BB's love for God's creatures )or down by the Thames .There's even an excursion in Scotland where they meet an ornithologist in kilt (James Robertson Justice:in her memoirs ,BB wrote he was a true gentleman)and where they play Draughts (checkers) with a board painted on one of their bodies -No,I won't write a spoiler and I won't tell you which one !BB's fans can have have a look.

Wonderful, engrossing film, which does not hold much promise, as regards substance, in the early stages. About one-third of the way through the film, it begins to expand in scope from a superficial study of Bardot's burned-out marriage and love life, and a seemingly frivolous trek from Paris to London for Bardot and cohorts who are on a modeling assignment, to a complex, detailed unfolding of how life becomes complicated when one encounters social temptation, which blossoms into genuine passion, on the road.Bardot displays a multi-faceted screen talent, as she personifies beauty and allure, to go with emotion and vulnerability, as she becomes entangled in the biggest crisis of her life - developing feelings and involvement with a man who is not her controlling, dispassionate husband, and who actually takes his attraction for Bardot to fever pitch. This brings Bardot to the threshold of major decision time, and she, seemingly, is overwhelmed and rendered indecisive by her dilemma. This film represents a departure from the many Bardot films which stereotype and caricature her as a flirtatious, shallow "sex kitten." In fact, there is no stereotyping and little comedic humor in evidence, here, as Bardot takes on a serious role with remarkable ease and professionalism, making one wish she had been challenged to this extent, in her earlier films. Or was she just too young, prior to 1967, when, in her early 30's, she fulfilled the considerable talent and promise of her youth?