Angélique, a “bodice-and-dagger” show
Renaut, Aurore
Angélique, a “bodice-and-dagger” show - 2020.
35
This article proposes a comparative analysis of the Angélique series—the books written by Anne Golon in the late 1950s and the movies directed by Bernard Borderie (1964–1967). While the books presented the figure of a heroine, in love but free and sometimes almost emancipated, the film adaptation offers a revised version, amended by the patriarchal cinema of the Fifth Republic. The actress, Michèle Mercier is, like Martine Carol and Brigitte Bardot before her, eroticized. Her body becomes a marketing tool, reducing her strong female character to a fantasy for the male gaze. The films largely transform her image, turning her into a capricious woman, always subject to the wishes of her partners. Angélique considerably lost its complexity in its recovery by the French cinema of the 1960s dominated by men.
Angélique, a “bodice-and-dagger” show - 2020.
35
This article proposes a comparative analysis of the Angélique series—the books written by Anne Golon in the late 1950s and the movies directed by Bernard Borderie (1964–1967). While the books presented the figure of a heroine, in love but free and sometimes almost emancipated, the film adaptation offers a revised version, amended by the patriarchal cinema of the Fifth Republic. The actress, Michèle Mercier is, like Martine Carol and Brigitte Bardot before her, eroticized. Her body becomes a marketing tool, reducing her strong female character to a fantasy for the male gaze. The films largely transform her image, turning her into a capricious woman, always subject to the wishes of her partners. Angélique considerably lost its complexity in its recovery by the French cinema of the 1960s dominated by men.
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