If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

This film is a glorious mess. Just when you think you have it figured out, it changes into a different style. You want a sexy musical romantic comedy, here it is, you want a slapstidk spoof, here it is, you want an action-filled spaghetti western, you got it. It is probably closest altogether in tone to "Cat Ballou". Altogether its an inventive sexy farce that captures the light and cheerfulness of the mid 1960's.Louis Malle seems to be channeling Richard Lester (the movie was made around the time of "Help" and "A Hard Day's Night") throwing gags right and left. He has the good sense to keep the camera on both Jeanne Moreau and Bridget Bardot for long stretches. Unfortunately, there is little chemistry between them, but they are both so sexy the viewer isn't sure who to focus on. The viewers' eyes dart from Bardot on the left to Moreau on the right and back again.If one sees it as a competition between Bardot and Moreau, I would have to say that Bardot wins hands down. She seems to genuinely to love her role, while Moreau seems a little nervous about having to compete with Bardot on the screen. Still both are at the top of their game as actresses and are a treat.The movie is unabashedly pro-revolutionary with classic Marxist ideology, something quite refreshing. The peasants are oppressed and noble, and the land-owners, army and Catholic priests are powerful and savage. The movie is pleasure on every level. If you enjoyed "Bandidas" with Penelope Cruz and Salma Hayek, you'll enjoy this film.

This movie is far from perfect but who needs perfect? it has a lot, aLOT of corny gags that fall flat, you can't help thinking the team wasdoing drugs, which certainly is a possibility. however, it has somuch great stuff in it too. the opening, for instance bridget as alittle girl with her early IRA dad enjoying father and son activitiestogether. and the idea of a revolution led by two strippers... that isso delightful and sweet. (what if michael moore came encased inthe soft supple form of young bridget bardot!?). I guess this moviewould be troubling in a lot of ways if you were take it the least bitseriously but you'd be crazy to do so. Sure beat the heck out of "!Ay,Carmella!" - - - -

This is a nice sexy action comedy with some controversial topics about a french actress and a irish terrorist in LatinAmerica. That is nice because nearly 40 years later, there isn't a better action comedy movie where the lead character were women. That's much better than Charlie Angel and much funny than any comedy these days. Diaz , Barrymore and Liu looks weak innocent and timy with these great french Divas. This are really gorgeous strong women. It's hard to believe that Hollywood now at day bring a more clever, sexy and controversial satire than Viva MAria! It's have some very enjoyable jokes like the skeleton of the man and the horse in the desert or the head of the bishop, and the Inquisition torture. The story is not very credible, too women that made a revolution but t's funny seen the pure semi boy Bardot transform in the ninfomaniac girl we all love. Not only Lois Malle direction is excellent, the song and there two leading ladies are incredible the Gorgeaus (in this movie talent) Bridgtte Bardot and the intense (And also beauty)Jeanne Moreau.A GREAT PICTURE WITH THE BEST (and brave) ACTION HEROINES OF ALL TIME

I originally saw Viva Maria! at a Toronto cinema in the mid-1960s in the company of three college friends and, upon emerging, I think that each of us would have cheerfully enlisted in a revolutionary cause of the kind depicted in the film. The Moreau-Bardot magic was irresistible! As I recall, the North American release of this film ended with the cheers of the crowd of San Miguel as the circus troupe departed. On a recently acquired laserdisc pressing of the film, however, I note that there is an extra minute -- the European ending in which the troupe returns to the European stage.Pay particular attention to the musical score -- composed by Georges Delerue (1925-1992), most of whose work was for the European cinema but he was, from time to time, commissioned to compose for American and British films. He had a particular talent for evoking the nostalgic longing inherent in mediæval and renaissance themes. In fact, in a radio interview, Delerue once indicated that, where most film composers would start to experiment with tunes on a battered piano, he would often wander into archives of ancient music to get his inspiration. In the opening credits to Viva Maria!, a French ballad of the young heroine is picked up by the orchestra in a delightful example of Delerue's skill. (By the way, the film's credits do not seem to name the singer, but whoever he is, the man's diction is so clear that even an anglophone "retard" ought to be able to follow the French lyrics. If anyone knows who he is, I would be pleased to learn his identity.)