Viva Maria! (1965)

Viva Maria! is a striking contrast – both in scale and mood – to Louis Malle’s previous film, the spatially confined, intensely melancholic Feu Follet (1963). A riotous adventure comedy, with lavish period costumes and an exotic location, Viva Maria! looks much more like the work of one Malle’s contemporaries, Philippe de Broca, than anything you would have expected of Louis Malle. The film stars Jeanne Moreau and Brigitte Bardot who were, at that time, among the most prominent of European actresses, each at the height of a hugely successful international film career. A publicity coup certainly, but Malle’s decision to bring together two such contrasting and prolific actresses definitely pays off – Bardot’s unbridled, girlish spontaneity and obvious erotic appeal working well alongside Moreau’s more introspective, darker kind of seductive charm.

IMDB

This movie was the subject of one of two U.S. Supreme Court cases that led to the establishment of the MPAA Ratings Code. Upon the U.S. release of this "Viva Maria," the movie classification board of the city of Dallas, Texas, banned the movie within the city on the grounds that it was too racy.








Looking at this film today, it seems pretty daring for it’s time (for the buttoned-down United States). Not in a sense of showing a lot of flesh, but instead presenting both ladies, especially Bardot, as sexually emancipated women who know what they want and are not afraid to go after it. It must have been shocking in 1965 to see a girly-gorgeous Bardot in all her exotic-teen-charming beauty lose her virginity not to one man, but to 3 men at the same time. The orgy itself is not shown, but Louis Malle does something smart. He actually left the dirty details of Bardot getting whammed by 3 guys to our imagination, which he helps along by presenting her extremely satisfied, but with torn cloth and blue bruise marks all over her body, which lead us to think that the intercourse must have been savage and brutal. It certainly made my imagination run wild.

On top of that, Louis Malle shows the fact that the Catholic Church is a bunch of corrupt bastards, and has no problem with getting them killed and blown to pieces. Aaaaah! My kind of movie.

It is quite hard to place this film in Malle’s remarkably diverse canon of cinematic works. Obviously intended for the mass market, it has few if any of the artistic strengths of the director’s truly great films, and it certainly has far less of the impact. Yet, as a piece of spirited entertainment it has much to commend it. The film’s main redeeming features are some very funny visual jokes and the Marias’ naughty stage act, which looks like both actresses, had a lot of fun with. Cinematography from Henri Decaë and music from Georges Delerue add to the film’s pleasing aesthetics. It’s a piece of mad escapist fun intended to chase away the blues.







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