Film Review: Viva Maria! (1965)
Louis Malle’s Viva Maria! (1965) is a fascinating yet uneven period adventure comedy that encapsulates three defining trends of 1960s European cinema: the Sexual Revolution, the cultural appropriation of American genres such as the Western, and the infusion of radical leftist politics. Set in an unnamed Central American country in 1907, the film stars two of France’s most iconic actresses, Brigitte Bardot and Jeanne Moreau, and blends action, comedy, and mild eroticism into a chaotic yet ambitious narrative. Despite its commercial success, Viva Maria! remains one of the less appreciated entries in Malle’s filmography.
The plot of Viva Maria! begins with a prologue that introduces Maria I (played by Brigitte Bardot), the tomboyish daughter of an Irish terrorist who taught her how to handle explosives. After her father dies in a failed attack on British forces in what is presumably British Honduras, Maria I seeks refuge with a troupe of travelling entertainers. Among them is Maria II (played by Jeanne Moreau), a dancer and singer whose partner has recently committed suicide. Maria II takes Maria I under her wing, and the two women quickly become a sensation after an accidental wardrobe malfunction during a performance turns into a deliberate part of their act. Their journey takes a dramatic turn when they cross paths with Flores (played by George Hamilton), a handsome revolutionary who is captured by the villainous hacienda owner Rodriguez (played by Carlos López Moctezuma). Maria II falls in love with Flores and, with the help of the troupe, orchestrates his escape. Although Flores dies, Maria II vows to continue his revolutionary mission. The two Marias then lead a rebel army, battling both the forces of a ruthless dictator (played by José Ángel Espinoza) and the Church, represented by the morally rigid Father Superior (played by Francisco Reiguera), who views the people’s devotion to the two women as sacrilegious.
Malle and co-writer Jean-Claude Carrière conceived Viva Maria! after watching Robert Aldrich’s 1954 Western Vera Cruz. Their intention was to subvert the genre by casting women as action heroes, a bold move for the 1960s. The film’s gender-swapped protagonists and its blend of comedy and action were innovative, but the execution often falters. Malle’s decision to cast Brigitte Bardot and Jeanne Moreau, two of France’s biggest stars, was a masterstroke in terms of marketing, but the film struggles to establish a convincing “buddy buddy” dynamic between the two. The script’s attempts to balance action, comedy, and eroticism are uneven, with many of the jokes falling flat. The physical humour and black comedy often miss the mark, and the film compensates for these shortcomings with over-the-top action sequences, particularly in the explosive and violent finale.
One of the film’s most glaring issues is its inconsistent tone and weak characterisation. George Hamilton’s Flores is underdeveloped, and his lack of chemistry with Jeanne Moreau is particularly evident in a misguided sex scene that awkwardly blends religious imagery with humour. The film’s attempts at satire, particularly its critique of Hollywood’s portrayal of Latin America and its jabs at US-backed dictators and the Catholic Church, are diluted by its comedic approach. While other European filmmakers of the time, such as those associated with the Zapata Western subgenre, tackled similar themes with greater seriousness and political fervour, Viva Maria! opts for a more light-hearted and superficial treatment.
Despite these flaws, the film has its merits. Henri Decaë’s vibrant colour cinematography captures the lush landscapes and chaotic energy of the story, while Georges Delerue’s soundtrack, though occasionally overwhelming, adds a layer of grandeur to the proceedings. The musical numbers, particularly those featuring Bardot and Moreau, are among the film’s highlights, showcasing the charisma and star power of its leads. However, the production was plagued by difficulties, including Bardot’s frequent illnesses and a serious falling-out between the two actresses, which may have contributed to the film’s uneven quality.
From a feminist perspective, Viva Maria! offers an intriguing inversion of traditional gender roles. Maria I, in particular, embodies a liberated sexuality that was rare for female characters in 1960s cinema. Her promiscuous lifestyle and assertive personality stand in stark contrast to the macho archetypes epitomised by James Bond and other male action heroes of the era. This feminist dimension, though not fully explored, adds a layer of complexity to the film and reflects the changing attitudes towards gender and sexuality during the Sexual Revolution.
Upon its release, Viva Maria! received mixed reviews from critics, who were largely unimpressed by its chaotic narrative and tonal inconsistencies. However, the film found an audience drawn to the star power of Bardot and Moreau, as well as its blend of action and humour. Viewed today, Viva Maria! feels very much a product of its time, with its dated humour and uneven execution. Yet, for modern viewers willing to approach it with modest expectations, the film can still provide a degree of entertainment. Its historical significance as a reflection of 1960s European cinema, combined with the undeniable charisma of its leads, ensures that Viva Maria! remains a curious and occasionally compelling piece of film history.
RATING: 5/10 (++)
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