“Sometimes there was a limit…” 2 years after La Boum 2, Sophie Marceau spoke candidly about the strained relationships behind the scenes.

In his latest quarterly issue, the wonderful musician Schnock devotes a dossier on a film both iconic and transgenerational: La Boum and its sequel. 80 pages give voice to the many talents who participated in the adventure: Bridget Fossey, Daniel Thompson, screenwriter Vladimir Kosma. Members of the group of friends around Sophie Marceau, including Laurent Ndiaye, Sheila O’Connor, alias Penelope; Or even Pierre Cossault, aka Philippe Berthier, the one who turned Vicky’s head…

Many admit that the experience on Boum 2 was painful and without real passion, unlike the first opus, which managed to attract more than 4.5 million viewers. Gommon, who also produced the sequel, which still has more than 4.07 million admissions, was jealous of the Frenchman’s new petite fiancee. One who, above all, quickly sought to emancipate himself from a role he quickly felt trapped by.

Sophie Marceau explained this with great candor in a 1984 interview for Paris Match, quoting extensively from Schnock magazine.

“The La Boum adventure lasted three years, they taught me everything, to drink vicky, to smoke, there was nothing to say, I was asked to be everything. After La Boum, I didn’t do anything for two years because I had a contract with Gaumont for La Boum 2. Alain Poiret He was an authoritarian man. He was very friendly with me until we disagreed and I wanted to leave the house… He was a man of power, so he didn’t like to say no.”

“I saw that it was not at all kind to me”

At the age of 16, in 1982, Sophie Marceau bought out her contract for 1 million francs. “I had a contract with Gaumont, which we respected from beginning to end, it lasted four years, it was a boom time. After that, there was no contract, but because I agreed to do another film with Pinotto. A very small role in recognition of our work and our friendship, so I re-signed with Gaumont for this film.

And at the same time, I had an offer Zulavsky to do Love robs. I had three days in Pinotto’s film and I had the main role in Zulawski’s film, so it was clear to me that there was no problem. But Gumon didn’t like it because I ran away from them. Also, I was going to “make a movie with a mechanic”, sometimes it was borderline. They didn’t like it and they confused me a bit into believing that it was impossible to make both films…

I saw there that he was not at all kind to me and not in good faith… it cost me dearly. They didn’t give me a gift, but that’s okay, I had a feeling of freedom. Somehow, it’s okay to tell a lie to someone who’s putting a lot of pressure on you. They really did me a favor.”