Reviews provided by RottenTomatoes
The flirtation with incest at the centre of this adaptation of Francoise Sagan's novel is tame by modern standards, but the evil scheming of Seberg as the daughter set on separating her father and his mistress is still forceful.
The final shot is one of the most convincingly grief-stricken in cinema.
Niven and Kerr keenly satirize their onscreen iconographies-the cad and the goody-goody, respectively-but it's Seberg who cuts deepest.
Script deficiencies and awkward reading -- some lines are spoken as though just that -- have static results.
Otto Preminger's formally dazzling 1958 film is an edifice constructed of contrasts.