A consistently intelligent (or at least bright), coherently constructed comedy that is on occasion a rather pointed critique of the American education system in the…
Let's have a contest, gang. The one who finds the most Freudian symbols in Tony Richardson's "Mademoiselle" wins the Norman Vincent Peale book of his choice. I'll give you a few to get your list started: There are 19 shots of a lake. Lakes stand for women. Sometimes it is stormy, sometimes it is covered with raindrops, sometimes it is calm. Everytime you see Jeanne Moreau, she is like the lake. Stormy, covered with raindrops, calm.
Then there is a great scene where she meets the Italian lumberjack in the woods. He has a pet snake. They shake hands, and the snake crawls down his arm and up hers. For a moment there, while the snake is in midpassage, you could turn the screen on edge and have the trademark of the American Medical Assn.
Then you have Miss Moreau's hang-up. She is a schoolteacher in a French town. She tells her students a story about an evil baron who sneaks out at night and sets houses on fire. Sure enough, Miss Moreau sneaks out at night and sets houses on fire. She also opens the floodgates on the dam, poisons the water supply and smokes cigarettes. She is an evil woman.
One day she goes out into the woods and is seduced by the lumberjack. The seduction scene lasts from about 4 p.m. until noon the next day. Miss Moreau and the lumberjack run through the fields and the forest and around the lake, and about midnight it starts to rain. Then it gets muddy. They slosh through the mud, carrying on their carefree lovers' dance. Slosh, slosh, slosh, I hear the lovers dancing.