Adapting Highsmith #4: This Sweet Sickness (Dites-lui que je l’aime, France 1977)

David (Gérard Depardieu) and Lise (Dominique Laffin)

David (Gérard Depardieu) and Lise (Dominique Laffin)

From the 1960 Highsmith novel with the same English language title, This Sweet Sickness is a 1977 film by Claude Miller starring Gérard Depardieu and Miou-Moui. It’s perhaps the most delirious narrative of all the screenings in this Highsmith season, ending in a full-blown fantasy sequence.

David (Gérard Depardieu) is an accountant at a company in Central France. A typical Highsmith anti-hero, he ‘lives a lie’ – each weekend heading for Chamonix in the French Alps where he claims he is visiting his parents in a nursing home. In fact they are dead and he is secretly building/furnishing a chalet for his childhood sweetheart Lise (Dominique Laffin). Unfortunately she married someone else when David was away for two years (military service?) and is now pregnant with her first child. The film’s French title translates as ‘Tell Him/Her, I love Him/Her” which is intriguing and seems more informative that Highsmith’s original English title. This is because David himself is being pursued by Juliette (Miou-Miou) – and she in turn is being chased by David’s colleague François (Christian Clavier) who is attempting to cheat on his wife.

Juliette (Miou-Miou) and François (Christian Clavier)

Juliette (Miou-Miou) and François (Christian Clavier)

Claude Miller directed the film and co-wrote the screenplay with Luc Béraud. While keeping the central characters and the opening narrative close to Highsmith’s story (i.e. the book’s plot as reported on Wikipedia), Miller changed the second half in several ways. Not surprisingly perhaps, Highsmith did not like the adaptation. Miller, who died in 2012 just before his last film Thérèse Desqueyroux was shown at Cannes, was influenced by François Truffaut. Under Truffaut’s guidance he directed his first feature in 1976, so perhaps it isn’t surprising that aspects of Dites-lui que je l’aime seem to refer to Truffaut’s own interest in Hitchcock. At the beginning of the film David visits a cinema, sitting in front of Juliette who has recently moved into the same lodging-house. The screening is Hitchcock’s Rebecca (1940) and a cut takes us straight from the auditorium to Joan Fontaine on the screen as the new Mrs de Winter exploring Manderley, the de Winter house. Juliette will eventually explore David’s chalet in Chamonix and if you know Rebecca you won’t be surprised at the chalet’s destruction in Dites-lui que je l’aime.

Claude Miller’s film is indeed ‘filmic’ and there are several interesting images/sequences. A photo in the chalet from the 1950s shows David and Lise as children. It sits below the kite (named ‘Fergus’) that they used to fly together. Outside the chalet a boy and girl, roughly the age of the children in the photo, are playing a game of ‘Grandmother’s Footsteps’. Where have they come from? The chalet is quite isolated in the hills. David comes out and shoos them away. Later in the film he sees another pair of children playing the same game. Are these children real or a figment of David’s obsessive imagination? In David’s bedroom at the chalet, a print on the wall shows a young woman looking out at the viewer. I think this might be Vermeer’s ‘A Lady Standing at a Virginal’ – or something similar (I think she was the other way round)? I thought that the scenes outside the chalet in the snow were reminiscent of the final scenes of Truffaut’s Tirez sur le pianiste (1960).

David caught in the rain and behind the front gate of Lise's house – the perfect image of a man trapped in his obsessive and doomed desire?

David caught in the rain and behind the bars of the front gate of Lise’s house – the perfect image of a man trapped in his obsessive and doomed desire?

In 1977 Gérard Depardieu was well on the way to becoming the pre-eminent French film star – a status he had obtained by the early 1980s. I watched him only a few weeks ago in 1900 (Novecento) (1976) which was shot only a couple of years earlier and he seems to have put on a lot of weight in just two years. In the image at the top of this post, he still displays a youthful sensitivity and charm (the glasses remind me of James Dean), but at the same time he hints at the brutality and wildness he is capable of. This was all part of Depardieu’s star persona and would come to the fore when he toured the US in 1990 to promote Green Card. In Dites-lui que je l’aime he slaps, punches and throws both men and women and throws wine or water in their faces. This film is unusual for Highsmith because, apart from Carol (UK-US-France 2015), it is the only one to my knowledge to involve two leading female characters, one of whom (Juliette) is nearly as active an agent as David himself. There is a sense in which Highsmith might be seen as misogynistic in terms of her female characters, but here she is perhaps better seen as misanthropic. I did find the violence dished out by David quite shocking – possibly because he flared up so quickly and was out of control before his victims were aware of what was happening. One of the main victims is Juliette – who dishes out her own form of emotional violence. Depardieu and Miou-Miou had ‘form’ in this kind of emotional drama, in Les valseuses (1974), a film that also includes Isabelle Huppert and Brigitte Fossey, both of whom have appeared in the ‘Adapting Highsmith’ films.

Lise (Dominique Laffin) is sometimes difficult to tell apart from Juliette when both wear woollen hats that hide their hair. Lise is less 'active' than Juliette but still an agent in the drama.

Lise (Dominique Laffin) is sometimes difficult to tell apart from Juliette when both wear woollen hats that hide their hair. Lise is less ‘active’ than Juliette but still an agent in the drama.

In trying to classify this film, I can’t help thinking that it is a bit like ‘Truffaut-Hitcock on speed’ – it’s a psychological thriller, crime melodrama and emotional romance rolled into one. The performances of Depardieu, Miou-Miou and Claude Piéplu (who plays David’s eccentric neighbour) carry the energy that this mixture of repertoires suggests and I think this was perhaps the most enjoyable of the adaptations I’ve seen.

I must note (for Keith’s benefit) that the film was projected as 1.66:1, the standard European format for the period and that the digital copy we saw seemed to have been copied from a video source which hadn’t been properly ‘de-interlaced’ so that the image ‘feathered’ every now and again. But I confess that I found the film narrative to be riveting and I soon forgot about the image quality. I watched this in one of the smallest screens at HOME which was nearly full. The last HOME screening in the season is this coming Thursday and since it’s directed by Claude Chabrol I’ll be there early to get a good seat. Can’t wait, this has been an excellent season.

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