Claude Miller likes to portray unhappy people as he believes that nothing happens to happy people. His films have won him both critical as well as Box Office success. L'Effrontee shows how hard it is to live as a neglected child with desires and aspirations. Claude Miller's poetic mis- en-scene imparted divine exquisiteness to a pure tale of uncertainty. Charlotte experiences the passage from childhood to adolescence in a difficult manner. Miller has created one of the best coming of age film in years. Things become tough for Charlotte when she is introduced to an alien world of music. She reminds us of our childhood dreams and frustrations. Miller has always championed the cause of young characters in his films portraying complex personal relationships. L'Effrontee is similar to his earlier film "La meilleure facon de marcher" as he has aimed to portray joys and sorrows experienced by adolescents in their formative years. As a cinéaste who learned his métier from Truffaut, Claude Miller will continue to create stories of troubled childhoods.

François Truffaut and Jacques Doillon who have often worked with children know well one thing: making a movie about childhood or adolescence is a quite difficult thing. Here, it is Claude Miller's turn to broach the delicate topic of adolescence. The less we can say is that he signed here a sensitive and bitter work that brings out enough strength and emotion to compare with the filmmakers' movies previously quoted.

The first indisputable quality that we can put forward is the following one: Claude Miller's film is very far from the clichés generally attributed to teenagers. Charlotte isn't a nymphet, only a teenage girl who is not a happy person and who's searching for love and understanding. The director succeeds very well in making us share his heroine's profound discontentment and Charlotte Gainsbourg won a well-deserved Oscar for her remarkable performance.

Apart from the relevant and convincing description of Charlotte, Miller painted a series of characters who are never on the edge of caricature. Lulu is perhaps a naive little girl and the director somewhat made her look ugly by giving her glasses but he does everything to hide her dumb air. Then, Charlotte's father is presented as a good man and faced with her daughter's insolence, he can contain his anger. One last example, Clara's manager is not obsessed with money. With Charlotte Gainsbourg, it would be unfair to neglect the rest of the cast. Either the actors are young or old, they all have a common point: they are all excellent. This only confirm one gift that Claude Miller had already shown in his first movie, the harrowing "la meilleure façon de marcher" (1976): an excellent direction of actors.

Besides, like in "la meilleure façon de marcher" (1976),"l'effrontée" (1985) is a perfectly stable movie, both funny, touching and where Miller skilfully alternates moments of tension and calm and the rare moments of violence are only suggested like the scene when Charlotte hits Jean with his globe.

Quite obviously, what mainly interested the director in this film is Charlotte's relationship with the most important character of the film: Clara Baumann. Their confrontations constitute the key-moments of the movie. Clara is a talented young pianist and Charlotte blindly idolizes her. She is ready to believe everything she says, even when Clara confides to her that she would like to become her impresario on tour. It is interesting to note down that when she talks about Clara, Claude Miller gently laughs at her naivety. More important, through their relationship, Miller compared their respective worlds. The music used (the song "Sarà, perché ti amo and Mozart) reveal the incompatibility of these worlds and the beginning of the sketched friendship (but is it really friendship?) is eventually bound to fail. To tell this failure, Miller proceeds by little touches: the manager's telephone that doesn't answer, Lulu who creates a scandal during the show. This failure clearly shows Charlotte's disillusion but it doesn't stop the movie to end on a positive tone: when we see the heroine take care of Lulu, she seems to have understood that her place is among her family.

The movie also contains another strong point: the relationship between Jean and Charlotte where Miller favors the progressive rise of tension. For this, he uses the same method as Charlotte's failure with Clara: he proceeds by little touches: the movie they watch at the cinema is "the Exorcist" (1973) and the tension gradually grows and explodes when they are in Jean's hotel room.

I must admit that I don't know enough Claude Miller's work. I only saw "la meilleure façon de marcher" (1976),"la petite voleuse" (1988) and this one "l'effrontée" (1985) but these three films were sufficient to make me a very good impression of this filmmaker and I am long to discover his other opus.

Most of the times the smallest things in life are the greatest and in cinema that's not any different. It's been a long long time since I saw such a supertalent as Charlotte Gainsbourg (yeah, daughter of...) and with justified reasons this movie was be a sort of springboard for Charlotte's further career. Charlotte plays the role of a teenager whose life is totally overruled by boredom both by the persons she's surrounded with (her only friend is a sick ten year old girl Lulu) and the village she lives in. Nothing ever happens and the usual parties at the local disco cant convince Charlotte in no way...all she wanna do is escape if only she could. But then it happens when a girl of her age enters the village to give a concert (the girl is a pianoplayer who is worldwide respected). Charlotte tries everything to become the pianist best friend with only one purpose : to escape from the dull world she is living in... As said the whole film has one focal point : Charlotte Gainsbourg and it is perhaps the best teenermovie ever made and it makes you forget the many stupid things that were sended by us by the likes of Matthew Broderick or any other John Hughes-icons. Superb movie!