Nobody's Women | Chicago Reader

Nobody's Women

Christopher Frank's French melodrama has much of the atmosphere and most of the structure of a Fox CinemaScope weepie of the 50s. Three professional women work together in a Paris X-ray lab: divorced mother Marthe Keller dreams of finding happiness with sympathetic but noncommittal businessman Jean-Louis Trintignant; middle-aged Caroline Cellier hopes to combat her husband's fading sexual appetite by convincing the clinic's sexy young receptionist to seduce him; young, lovely, neurotic Fanny Cottencon attempts to revenge herself on the male sex by building up a stable of lovers and casting each one off as cruelly as she can. The two-ton metaphors and phony symmetry lead to a conclusion that is considerably more convenient than it is convincing. Frank is one of the French cinema's most prolific and commercially successful screenwriters (he alternates between Alain Delon policiers and middlebrow relationship movies); this is his second film as a director, though the camera clearly remains an exotic object to him. With Philippe Leotard and Patrick Chesnais.

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