Goodbye Again (1961)
Directed by Anatole Litvak

Film Review

The distinguished American-Ukrainian film director, screenwriter and producer Anatole Litvak began his rich and interesting career as far back as the 1930s.  Working in Russia, Germany, France and the United Kingdom, Litvak's extensive filmography includes such timeless classics as Mayerling (1936), All This and Heaven Too (1940), Sorry Wrong Number (1948) and The Snake Pit (winner of the Best Film award at the Venice Mostra in 1949).  In many of his films, Litvak would often draw on his own experiences, incorporating themes relating to the Russian Revolution and Nazism; this is particularly evident in some of his later work: An Act of Love (1953), Anastasia (1956), The Journey (1959) and The Night of the Generals (1967).

After his productive spell in Hollywood, Litvak directed two thrillers in France - Five Miles to Midnight (1962), The Lady in the Car with Glasses and a Gun (1970) - but the 24th May 1961 saw the release of a romantic drama entitled Goodbye Again, released in Europe as Aimez-vous Brahms?  Filmed in Paris, this prestigious American-French production was based on a best-selling novel by the celebrated writer Françoise Sagan (of Bonjour tristesse fame).  A compelling, well-constructed piece of film drama, Goodbye Again is among Litvak's better late films.  It was entered for the Palme d'or at the 1961 Cannes Film Festival, but lost out to Luis Buñuel's Viridiana and Henri Colpi's Une aussi longue absence.

The film may not be as imaginatively scripted as it might have been (screenwriter Samuel Taylor stays doggedly faithful to the original novel) but it is sumptuously crafted and offers up a remarkable ensemble of fine actors of this era.  Armand Thirard's gorgeous black and white photography is suitably atmospheric and perfectly evokes all the enchantment of Paris, City of Lights.  Costumes were provided by none other than Christian Dior, whilst Georges Auric turns in one of his finest screen compositions, one that is heavily influenced by Johannes Brahms's Third Symphony.  Litvak's direction may be attentive to the rapidly changing moods and to the electrifying ambiance of Paris, but it is typically restrained and never distracts from the unfolding narrative.  One effective stylistic touch is the satisfying symmetry of the poignant climactic sequence in relation to the opening scene.

Goodbye Again is carried by a triumvirate of great film actors who bring immense pathos to the proceedings.  Having been banished from Hollywood for seven years on account of her amorous escapades with Italian director Roberto Rossellini, the Swedish born screen legend Ingrid Bergman was honoured with a second Best Actress Oscar in Litvak's Anastasia.  Five years later, now rated the fourth greatest actress in American cinema history, Bergman triumphs in another Latvik film, as Paula Tessier, a Parisian interior designer torn between two lovers, her long-time unfaithful consort and a much younger lawyer.  Magnetic as ever, Bergman oozes anxiety, compassion, dignity but most of all the moving vulnerability we saw in her early films.

In spite of the language barrier and a disagreement with Litvak over the way in which his character was to be portrayed, French cultural icon Yves Montand is effectively cast opposite Bergman, somehow managing to be both appealing and repellent as Roger Desmarest, Paula's philandering boyfriend.  Just released from Alfred Hitchcock's Psycho (1960), Anthony Perkins excels again in an altogether different role, as the charming and amusing Philip Van der Besh.  Perkins, who suggested the film's title, demonstrates his versatility as an actor and was a worthy recipient of the Best Actor award at the 1961 Cannes film festival.

The distinguished supporting cast includes Jessie Royce Landis (showing her flair for snobbish parts as the fastidious Mrs Van der Besh), French actor Pierre Dux and American singer- actress Diahann Carroll.  Fashion model Jocelyn Laine, Jean Clarke and the future Angélique, Michèle Mercier, also put in brief appearances.  Yul Brynner (the male lead in Litvak's Anastasia), Jean-Pierre Cassel and Françoise Sagan herself show up in small cameo roles.

Although the prudish American critics and audiences were generally unenthusiastic about the film's content at the time, Goodbye Again was a considerable hit in Europe.  To its credit, the film retains much of the mood and loose morality of Sagan's book and especially benefits from its depth of the characterisation, which makes this a more sophisticated variation on a familiar theme.  It is hard to imagine that such a frank and perceptive study in human relationships could have been made in Hollywood at this time, so Litvak was helped by the fact that the film was made in France.  This could explain why the film has worn better than most 1960s romantic dramas and why it has such a powerful, gut-wrenching resonance today.

Film Synopsis

Paula Tessier is an interior designer who lives and works in Paris.  Although she is still beautiful, she knows that the flower of her youth is rapidly fading.  She has been in a relationship with businessman Roger Desmarets for a long time, in spite of the fact that he is often unfaithful to her on his business trips.  One day, Paula receives a commission to redecorate a large apartment belonging to the wealthy Mrs Van der Besch.  On her arrival there, Paula meets his client's son, a handsome young man named Philip, and quickly realises that he is attracted to her.  Despite the disparity in their ages, Paula is tempted to start an affair with Philip.  Can this lead anywhere, or is Paula heading for an emotional crisis...?