SHOCK CINEMA
HOME PAGE
SUBSCRIPTIONS
AND BACK
ISSUES
FILM REVIEW
ARCHIVE
Hundreds of
Reviews from
Past Issues!
AD RATES
MAGAZINE
REVIEW INDEX

An A-Z List of
SC Print Reviews
SHOCK CINEMA
FACEBOOK
PAGE
SHOCK CINEMA
INSTAGRAM
PAGE
MISTER KEYES
At the Flicks
and Shit
SHOCK CINEMA
Film Favorites
SHOCKING
LINKS

Our Favorite Sites
'Chirashi'
MOVIE POSTERS

A Gallery of
Japanese
Film Posters

"Some of the 
best bizarre
film commentary
going... with sharp,
no-nonsense
verdicts."
Manohla Dargis,
The Village Voice
 
"One of the few 
review zines you
can actually read
and learn from...
You need this."
Joe Bob Briggs 
 
"Whenever you 
see a film critic,
pick up a brick and
throw it at him...
No great damage
can be done
to his head."
Jonas Mekas 

 

 Need more info?
 E-mail us at:

 shockcin@aol.com



























STOP CALLING ME BABY! [Moi, Fleur Bleue] (1977).

If you weren't already aware, I love to stumble across some current superstar in one of their early, on-screen embarrassments. This French jailbait drama is a prime candidate -- a little-known dollop of EuroTrash top-billed by a 15-year-old Jodie Foster. Filmed in both French and English (this print is the later), its only amusement comes from Foster's role as a schoolgirl named Isabelle (nicknamed Rosebud), who yearns to have an experienced man pop her cherry. Obviously, this gig doesn't go high on her resume nowadays. Living with older sis, Sophie (Sydne Rome), is no help either, since this fashion model loves to screw and has half-naked posters of herself throughout the apartment. But their life gets weird when a truck driver named Max (Jean Yanne) becomes so obsessed with Sophie that he hires a detective to track her down, with this blue-collar buffoon then trying to prove he's worthy of her desires. Of course, since this is a French film, the lovely model instantly drops into bed with this creep. This only makes Isabelle both resentful and flirtatious to Max, particularly after he moves in with the sisters. Director Eric Le Hung continues on a serious route, with Isabelle seducing Max's (much-older) detective, ending with a chaste morning-after in bed (and the covers conveniently pulled up to Isabelle's neck). But the shit really hits the fan when Isabelle idiotically recounts her sexual scenario in front of her entire classroom. Dull, oddly-romantic, and only fitfully sleazy, this mediocre coming-of-age yawn would be long-forgotten if not for Foster. It's definitely her show, as she manipulates every situation and dreams of someday becoming a great lover, known around the globe. While Foster avoids any embarrassing sexual moments (she's felt up, but it's over her shirt), she's less fortunate in the music department, since she actually sings portions of the grating, oft-repeated tune "When I Looked At Your Face." One final note: In light of today's sexual Puritanism, it's enlightening to watch how nonchalantly the film embraces this consummated relationship between an adult guy and a 15-year-old girl. If made in the US today, it'd never see the light of day.

© 1999 by Steven Puchalski.