When Otto Preminger announced in 1957 that his next project would be Bonjour Tristesse, based on the best-selling novel by Francoise Sagan, and that it would star Jean Seberg, colleagues and fellow members of the film industry were astonished. After all, his previous film, Saint Joan (1957), which featured Seberg in her film debut, was probably the biggest critical and commercial disaster of Preminger’s career with most of the negative reviews focusing on the inexperienced newcomer whom Preminger had “discovered.” Was Bonjour Tristesse (1958) his attempt to prove to everyone that he was not wrong about Seberg and that her performance in his new movie would validate all the time and effort he had poured into making her an actress? The real reasons, of course, were more complicated than that.