Love on a Pillow (1962)

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

There are better movies of two hours length. I loved the actress'performance.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

This is not a great film and not even as good as Vadim clearly thought it would be but it is still likable. Indeed there is much to like, even if Bardot is already past her absolute best look she carries herself well enough and there are glimpses of her beauty. Unfortunately she does not play little miss suburban boring, convincingly and her co-star, Robert Hossein doesn't really begin to cut it as the anarchist/existentialist, and yet… There are very good moments and when Hossein insists on leaving and she chase him to argue her 'love' there is real frisson. Similarly in the terrible moment when he insists on walking from her to take a prostitute, we are drawn immediately into their mutual dilemma. Unfortunately the film does not have the courage of it's convictions or possibly Vadim did not even have enough awareness of his subject, either way this is a great idea for a film yet to be made.

This film had some charm by the time it was made. BB was in a great shape. The youth in occident were strongly influenced by a fashion based on a vulgar reading of existentialist philosophy. The first time I saw this film, during the sixties, I was 17 or 18, and a kind of a "rebel without a cause", fond of existentialist literature. So the film impressed me.Today, seeing the film again, I found it almost stupid. I explain.1. The revolt of Renaud is not explained in a context, so we don't know exactly why he is bitter, cynic, self destructive and iconoclast. 2. The author of the story tries to glamorize Renaud revolt, but, what I see can't be glamorized. For instance, Renaud wears the same unwashed clothes during several weeks (which seems to be the time the story lasts) doesn't take a bath and doens't shave his beard. He smokes all the time and drinks heavily since the time he wakes up. So, his clothes and his breath certainly stink disgustingly. He messes seriously Geneviève's apartment spreading all around dirty dishes and ash trays stuffed with smoked cigarettes. All this mess and dirtiness for nothing... or to punish unjustly Geneviève?3. Geneviève looks rather as stupid blonde female because she falls in love with a stinking revolted pseudo-existentialist who does't do anything useful to anyone and criticize hardly the middle class life style, middle class of which he is actually a parasite. The film deserves to be seen because of the presence of BB. She was marvelous by that time and a real icon of a generation. A queen of many dreamers as me.

This film is classic Roger Vadim, down to the sexual theme, the gorgeous cinematography, and the incomparable Brigitte Bardot. A young heiress becomes involved with an abusive, power-hungry alcoholic. She loves this crude man, though he treats her savagely, until she begins to realize her own power. When she leaves this man to his own devices, he falls apart, and realizes that he, in fact needs her, and loves her. Basically a battle of the sexes, and she wins. This sounds like a simple story, but Roger Vadim elevates this into a thing of power and beauty, with his extraordinary film technique. His admiration for Bardot is apparent, as he films her 'god-like'. This is classic cinema, and very French in it's style. Feauturing some wonderful late 1960's jazz music, this is a very sexy film, one of the finest Bardot/Vadim efforts. I don't understand the negative reviews. I think it is unfortunate that the DVD for this one is so rare, and goes for over a hundred dollars if you can find it. Along the lines of films like "The Servant", and "Nine & a Half Weeks" in the subject matter of the sexual power struggle between two people. A fine film, worth a look.

This film's interest lies less in its indifferent, sweetly bourgeois bourgeois-baiting, than in its dramatisation of Vadim's mind, his sense of power in having 'created' Bebe; his emasculation as she transcended and abandoned him. This schizophrenia is given the revenge treatment here as Bardot navigates a liberating plot, eventually escaping stifling social respectability and imperiously mastering sadistic lover. This is filmed, however, in a fetishistic way, diminishing her sexual power, while leaving her nakedly vulnerable to the masculine gaze.