Brigitte Bardot is on trial for murdering her lover, Sami Frey; after shooting him, she tried to kill herself by gas; the emergency services arrived in time to save her. As the trial proceeds, a portrait of her character emerges in the mouths of the lawyers and in flashback: lazy, self-infulgent, promiscuous, jealous of her hard-working sister; yet Frey was the love of her life, even though she was not faithful to him. Was it a crime passionel, or something wild, crazy left-bankers do, and what is the staid, ritual-bound, retrograde legal system to make of her?

On the surface it looks like director Henri-George Clouzot is taking time out from his earleier, anger-filled movies, to make a certain box-office winner, with La Bardot the center of attention, and Paul Meurisse and Charles Vanel as opposing counsels. Yet Clouzot's contempt for everyone, from the self-indulgent youngsters, to the obtuse court proceedings. There's little of the openly shocking behavior he is so fond of in his other movies; the entire system is sick.

We have often heard that the COVID pandemic has laid bare the problems with our society. Crises often do that. But it's not just crises that expose the faults. Minor events can do that. The OJ Simpson trial drew attention to racial tension in the United States.

A fictional trial also drew attention to problems. Not in the US, but in France. Henri-Georges Clouzot's Academy Award-nominated thriller "La vérité" ("The Truth" in English) focuses on a woman on trial for murder. This was apparently a crime of passion, but what was the full story?

The movie can get seen as a look at France's problems of that era (hence the title could refer not just to the trial, but to all of society). In a departure from her usual sexpot roles, Brigitte Bardot plays the accused (of course, she remains overtly sexual). Clouzot noted that a person's life story can't get fully told in such a short period of time; a trial can only reveal so much about an individual.

There are some scenes that I'm surprised they were allowed to include in the movie (of course, those scenes could've gotten removed in other countries). All in all, it's one of the most important pieces of cinema history. Definitely see it.

French sex symbol Brigitte Bardot occasionally alternated her standard titillating vehicles with films of greater substance (though, invariably, she was still required to shed her clothes!) often helmed by a top name within her native cinema – notable examples being Claude Autant-Lara's LOVE IS MY PROFESSION (1958),Julien Duvivier's THE WOMAN AND THE PUPPET (1959; the only one I have not watched, since it seems not to be available in an English-friendly version – but, of course, I am familiar with the three other adaptations of the Pierre Louys source material, as well as owning the novel itself!),the film under review (sharing disc space with the first-mentioned title on the copy I watched, after acquiring one on which the English subtitles did not work – that said, even here, translation for a slew of dialogue at a time is intermittently skipped – but, then, these are burnt-in on the print obtainable via "You Tube"!),Jean-Luc Godard's CONTEMPT (1963) – unquestionably the finest of the lot – and Louis Malle's A VERY PRIVATE AFFAIR (1962),VIVA MARIA! (1965) and the "William Wilson" episode from SPIRITS OF THE DEAD (1968). As for director Clouzot, this was his last mainstream film – since his next, "Inferno" (begun in 1964),would be aborted due to his poor health and a subsequent one, LA PRISONNERE (1968),was perhaps too 'specialized' (read: extreme) to cater for other than 'underground' audiences! For the record, I still need to watch his MANON (1949) and LES ESPIONS (1957) from the ones I own.

THE TRUTH – included in the all-time top 3,000 movies ranked by the "Wonders In The Dark" website – was the only title involving either to be nominated for the Best Foreign Language Film Oscar: incidentally, it is preceded by the Columbia logo and, apparently, was simultaneously shot in English as per contemporary posters!; for what it is worth, the film deservedly missed out to Ingmar Bergman's beautifully stark parable THE VIRGIN SPRING (1960) – even if they actually emerged joint winners at the Golden Globes! Anyway, what we have here is the trial of a crime of passion (with the star herself in the dock),the backstory of which is then seen in flashback – triggered off by the interrogations of various witnesses. Clouzot managed to rope in an impressive supporting cast for his plethora of characters: Charles Vanel as Bardot's practiced Defense Counsel, Paul Meurisse as the showy Prosecutor – incidentally, both these actors had already appeared together for Clouzot in one of his greatest works, DIABOLIQUE (1955) – and youngsters Sami Frey and Jacques Perrin among the uninhibited (what else?) protagonist's numerous lovers, the former being also the victim in the case.

The director's renowned clinical eye for detail is well in evidence throughout – but the film's two sections do not necessarily jell in this particular instance (perhaps tellingly, the 122-minute movie had as many as six scriptwriters assigned to it!). The narrative proper, then, seems to belong to the 'wasted youth' trend kickstarted by Federico Fellini's I VITELLONI (1953); indeed, despite their highbrow aspirations (musician Frey juggles a relationship with Bardot and her 'saintly' elder sister, all the while attempting to set up his own orchestra!),these singularly colourless personages come across as low-lifes more than anything else: the crime itself, followed immediately by the heroine's attempted suicide, is easily the standout here. Conversely, the backhanded tactics prevalent in the over-crowded courtroom lend much cynical enjoyment – thus countering the necessarily static nature of the cinematography during these sequences.

Still, the film is considered as the one in which the star gave her best performance (she even won the Italian equivalent of the Oscar for it as Best Foreign Actress): though the events leading up to the night of the crime and where the real guilt lay (hence the title) are hotly debated by both sides, it is inconceivable to accuse Frey (who could hardly be blamed for lusting after Bardot) over her (whose feelings for him – whether genuine or merely to spite her "square" sibling – are never properly defined)…which is perhaps why the trial ends abruptly as it does! In retrospect, the movie can be seen to have much in common with the afore-mentioned "Inferno" – whose troubled shoot was delineated in a feature-length documentary released in 2009 (after Claude Chabrol had already impressively refashioned Clouzot's original script for his own 1993 effort L'ENFER).