Young & Beautiful: A Disappointing Psychological Drama
This film attempts to portray a modern French girl but falls short of understanding them.
The story revolves around Isabelle (Marine Vacth), a 17-year-old from a wealthy family. After losing her virginity during a summer fling, she returns to Paris and creates an online profile on a prostitution website. For several months, she charges €300 per encounter until one of her older clients dies of a heart attack in her bed. This incident draws the attention of the police, and Isabelle’s family discovers her after-school activities.
François Ozon’s Misstep
François Ozon, a French director known for his arthouse films, often manages to make them as engaging as mainstream movies. His filmography includes thrillers, comedies, and detective stories, showcasing his talent for blending entertainment with drama, intelligence, provocation, and masterful direction.
Marine Vacth, a professional top model, was chosen by Ozon partly because she was comfortable with nudity on screen.
However, “Young & Beautiful” is a rare misstep for Ozon. It feels like his most tedious work, adhering to the most tiresome conventions of arthouse cinema. The only potential “entertainment” comes from the erotic scenes featuring Marine Vacth, who is undeniably beautiful but lacks a certain sex appeal. Moreover, her character often engages in sex without much enthusiasm. Only those unable to access actual pornography might consider this film softcore.
The film heavily features songs by Françoise Hardy, whose music Ozon previously used in “8 Women” and “Water Drops on Burning Rocks.”
Authenticity Issues
In interviews, Ozon has admitted that the film’s plot is based on real stories of young prostitutes, while the nuances of the story and the protagonist’s experiences are drawn from his own memories of growing up. Unfortunately, these two elements don’t mesh well. What does a modern heterosexual girl’s coming-of-age have in common with a homosexual boy’s experiences in the 1980s? From a broad perspective, perhaps a lot. But this isn’t a film about broad perspectives; it’s a psychological drama that hinges on details. Every inconsistency detracts from the film.
Consider the prostitution storyline. It’s plausible that a young man, exploring his sexuality, might experiment with older men for money, not for financial gain but for a “dirty adventure,” as Ozon puts it. However, it’s hard to believe that a normal girl would become a prostitute and continue doing it for an extended period without needing the money. Women enter this profession for various reasons, but they stay in it only for money or due to coercion. There are no other options, as it’s simply too unpleasant.
Lacking Modernity and Depth
The heroine rarely uses her cell phone, doesn’t confide in her best friend, doesn’t tweet, and doesn’t even think about AIDS. She feels more like a French person from thirty years ago than a contemporary girl. The film fails to mask this disconnect with compelling action because there is none. The plot is a series of aimless, uninspired events. Even the death of Isabelle’s client doesn’t raise the dramatic temperature, which remains near freezing from beginning to end.