This odd film is one of the MUBI selections from the My French Film Festival. It’s odd because on the surface it appears to be a typical polar/crime thriller but it doesn’t ‘feel’ like a genre film. It may be because it is an adaptation of an Israeli novel by Dror Mishani and the adaptation is directed by Erick Zonca as only the third film he has completed since his international arthouse hit The Dreamlife of Angels (La vie rêvée des anges, 1998). The lead player of that film, Élodie Bouchez, is the fourth lead in this new film – in a secondary role behind three very established French stars.
The most immediately recognisable of the three stars is Sandrine Kiberlain as Solange, a depressed mother in her late 40s with a young teenage daughter who has learning difficulties. Her older child, Dany is a high school student who has gone missing and her husband, a merchant seaman, is away on a trip. When the boy’s disappearance is reported to the police it becomes a case for Commander Visconti played against type by an almost unrecognisable Vincent Cassel and seemingly lurking around every corner is a neighbour and Dany’s sometime tutor Yann Belaille played by Roman Duris – also looking very different. What follows is a drama featuring these three powerful actors.
The settings of the film are also unusual. Visconti is based in a police station in the city but the boy’s family live in an apartment block by a wood, presumably in an outer suburb and at times this felt like the setting for a Nordic Noir. If your recent experience of French policing on TV is the wonderful serial Engrenages (Spiral) you may also be a little baffled by the police operations this film. How does Visconti keep his job? This narrative is only marginally interested in police procedures. Visconti is an alcoholic living alone and battling with his son who appears to be operating a semi-pro drugs business from his high school. The Commander is dishevelled with greasy unruly hair and a thick beard. His appearance and demeanour suggest that he is permanently suffering from hangovers and his interrogation of witnesses in their homes often includes a request for whisky. Part way through the narrative he is taken off the case and replaced by a colleague with a more conventional approach. But this doesn’t appear to prevent Visconti carrying on his investigation.
Visconti becomes interested, perhaps too interested, in the creepy neighbour/teacher. Romain Duris is similarly disguised by a thick bushy beard (though this one is carefully groomed) and large spectacles. What does he know? What is he up to now? Most of the time this narrative is a mystery. Dany can’t be found. Is he still alive? In one sense Zonca seems to be teasing us with possible red herrings but perhaps he is most interested in the three central characters, each of whom has secrets. The case of Dany’s disappearance is eventually solved – or at least there is a confession, but not a clear resolution that ties up all the loose ends.
I’m not sure what to make of this film. As someone very interested in this kind of procedural/rogue cop etc. crime fiction, I found it very interesting, especially because of the three leads. But I do wonder whether a general audience, either of genre cinema or arthouse cinema, will enjoy the film.
Cardinal is a Canadian TV police procedural series which has just completed its second season on BBC4 in the UK in the usual Saturday night slot for European noir crime serials. I had watched most of Season 1, but for various reasons didn’t finish it. I must now go back because I was very engaged by Season 2. For the last couple of episodes I switched the subtitles on and I found it much easier to follow the dialogue. The series is broadcast in both English and French in Canada I think. I don’t know if the French is dubbed. I assume that the English language version I watched was synch sound but it does follow that unfortunate Hollywood convention which allows actors to mumble. Apart from that I found it impressive.
The first two seasons of the show are adaptations of novels by Giles Blunt and the third and fourth seasons are expected to follow in a similar way. The first two books each get 6 x 42 episodes or just over 4 hours of screen time, just about enough to be classified as ‘long-form’ TV narratives, allowing a literary or cinematic pacing. Blunt himself is linked to the writing team on the adaptations (which don’t necessarily follow the order of the original novels). The setting is the fictional city of Algonquin Bay which appears to be very closely based on Blunt’s home town of North Bay in North-East Ontario, some 330 kms north of Toronto. North Bay is on the Canadian Shield giving a distinctive landscape and on the shore of Lake Nipissing. The area is part of the homeland of the Nipissing First Nation of Ojibwe and Algonquin peoples and this is an important element in Blackfly Season.
The central character is John Cardinal (Billy Campbell), a Detective from the Algonquin Bay Police who in Season 1 returns from Toronto to re-open an old case. He is under a cloud of suspicion and it will turn out that his new partner Lise Delorme, a Québécoise played by Karin Vanasse, is also checking on Cardinal for an internal investigation. Cardinal’s wife Catherine has been suffering from a bi-polar disorder and in Season 2 it will emerge that she has something to do with the suspicions about Cardinal’s activities in Toronto. This set-up suggests a familiar generic device – the younger woman who is super-efficient is partnered with the older man who has all the problems associated with a sick wife (and feelings of responsibility for a daughter at university in Toronto). It’s summer in North Ontario and the blackfly are biting when Cardinal and Delorme are called to investigate the case of a young woman who has been shot in the woods. A bullet has lodged in the young woman’s skull but she has survived although she has lost all memories of how she got into the woods. Gradually it becomes clear that a new group of heroin dealers has moved into the region and are now competing with the established drugs network run by the Northern Raiders bikers’ gang. How does Red (the girl in the woods) fit in with the drugs war? And is she connected to what appears to be some form of ritual killing with a mutilated body found in a cave?
There are a number of elements in this series which interest me. Aesthetically Cardinal follows some of the familiar features of Nordic/North European noirs. There are aerial shots of forests and lakes stretching for miles as a lone vehicle follows a narrow road. This could easily be Sweden in summer. The music and sound mix (another factor sometimes making dialogue difficult to hear) is another reminder of The Swedish/Danish serial The Bridge with a title song recalling both The Bridge and the French serial Witnesses through its ethereal voice and strings. This song, ‘Familiar’, is by the Danish singer/composer Agnes Obel who has contributed songs to various TV productions in Germany, Australia, UK and US. Todor Kobakov is the composer of the overall score for the series. The Nordic connections do work with the summer landscape but are perhaps even closer in Season 1, set in the harsh winter and reminiscent of the Iceland of Trapped (2015).
The story in Season 2 has many familiar elements including the drugs war, questions about possible corruption in the police force and a killer with childhood memories that ‘return’ in unfortunate ways. The intriguing ‘difference’ is the setting in a region with First Nation peoples. The third member of the investigating team is Detective Jerry Commanda (Glen Gould) who is cast as what the character himself calls a ‘native’ police officer. Glen Gould is listed on Wikipedia as an ‘Aboriginal Canadian actor of Mi’kmaq and Italian descent’, born in Nova Scotia. I was intrigued to see also (via IMDb) a casting call for Season 1 of Cardinal in which roles were listed, specifying ‘Aboriginal Canadian’ roles and roles open to ‘all ethnicities’. Commanda uses the names of different First Nations as well as ‘native’ and also refers to various ‘res’ or First Nations reservations. I wish I knew more about recent Canadian debates about First Nations and I’m intrigued as to how First Nations issues are developed in film and TV narratives and how the Canadian approach compares with that in Australia and New Zealand as well as in Scandinavia with Sami peoples. I don’t want to say too much about how the narrative develops in Cardinal because it could spoil the viewing experience.
Cardinal seems to have gone down pretty well in Canada and it has been sold to Sweden, Spain, Germany, Australia and the US. I’ll certainly look out for Seasons 3 and 4 and I’m also now intrigued to read Giles Blunt’s novels. Here’s the Canadian trailer for Season 2:
Witnesses is a global crime/mystery series in the now familiar long-form narrative format. It has inevitably been compared to various other examples of what is becoming a global model, derived from the success of The Killing and The Bridge. Like the Scandinavian serials, the second season was broadcast on BBC4 in the UK ending a few weeks ago. (Season 1 was broadcast on Channel 4.) The key common element is a pair of police investigators in which the woman is the lead figure. What makes Witnesses ‘different’, at least in the first two seasons/series/serials, is the setting and the inclusion of some of the tropes of the horror film.
The location is Northern France. The police team is based in Lille and the action seems to range across the whole Nord-Pas de Calais region with an emphasis on the coast in both series. In fact, the action spreads all the way to Mont-Saint-Michel and Granville in Normandy several hundred kilometres away. The distances are so great that they detract from the realism of some of the plot devices, but conversely heighten the fantasy elements. Some of the Scandinavian narratives make use of similar settings but it occurred to me that Witnesses might also share something with the Welsh serial Hinterland. A second possible reference for me was the stories of Fred Vargas whose crime novels have the same mystery elements and sometimes use similar locations (e.g. by the coast or in rural Normandy). Although Vargas has been adapted in France, I’m not aware of any overseas sales.
The two central characters are Sandra Winckler (Marie Dompnier) and Justin (Jan Hammenecker). Sandra is the typical ‘maverick’ cop and Justin is the more stable partner who is generally in the background , but whose personal life is also explored. Each of the two seasons so far features a similar credit sequence with Sandra striding towards the camera along a ‘boardwalk’ past a row of bathing huts. She then reaches a dilapidated hut which blocks her path and she opens its doors to reveal a fantasy figure. In the first season this is a wolf (see below) and in the second three strange children. The music in the title sequence by the UK ‘trip-hop’ artist Tricky with Francesca Belmonte has an ethereal tone which underlines the potential fantasy of the stories. The song’s title is ‘We Don’t Die’ and the lyrics fit the stories so well I’m intrigued to see what the writer-creators Marc Herpoux and Hervé Hadmar (who also directs) will come up with next. The first story begins with the discovery of the corpses of people recently buried but now dug up and arranged in family groups in public places such as a show house on a new estate. As Sandra investigates she uncovers a connection to her former boss in Lille who has become something of a local celebrity.
In Season 2, the story begins with the discovery of a bus parked on a country road. Inside the bus are 15 frozen corpses of men who disappeared some time ago. Eventually the investigation will uncover a complex interweaving of stories which will eventually entrap Sandra herself and in which she will team up with a woman who herself disappeared and is then discovered three years later, unable to remember what happened to her. This is Catherine Keemer, rather confusingly played by the wonderful Audrey Fleurot, the rather tempestuous lawyer from Engrenages (Spiral). My confusion was because Series 6 of Engrenages followed Witnesses a week later on BBC4 and I found myself ‘catching up’ on Witnesses while watching the first episodes of Engrenages. Sandra and Catherine end up sleuthing together in Witnesses and a rather stylish couple they make – two tall, slim, thirty-somethings with flowing tresses and a similar dress sense.
Apart from the characterisation around Sandra and Catherine, there two noticeable aspects of this second narrative which distinguish it from similar series. First are the aesthetics, dominated by occasional uses of aerial shots of the coast and forests of the region, the cinematography in general and the use of music, the overall effect of which is to create a sense of mystery and unease. Ironically, there is a sense of the romantic and the gothic, even when action takes place around a wind farm. The mystery/horror tropes are signified in several ways, all of which take us into the complex plotting around the history of an orphanage located on Mont Saint-Michel. This is a great location (and a world heritage site). The best recent orphanage narrative is arguably El orfanato (Spain 2007) and this one uses some of the same tropes with drawings by children and photographs from some time ago. The children seem to have been fascinated by the story of the Minotaur. The focus on children also draws in both Catherine and Sandra. Catherine is close to her eldest child, a young teenage daughter and Sandra has two younger daughters. I won’t spoil the plot any further but the links seem clear as well as the dangers for the two women. I’m always intrigued by the ways in which these kinds of crime narratives share sometimes quite specific plot ideas and details with others released around the same time. Witnesses reminded me of elements in both Jo Nesbø’s The Snowman (2017) and the UK TV series The Fall (2013- ). Witnesses is a female-centred narrative created, written and directed by men. That’s just an observation, but I’m now intrigued by Engrenages 6 in which Audrey Fleurot is again a leading character in a narrative with Caroline Proust as top-billed – but with a largely male supporting cast. Gender is clearly an issue in the episodes I’ve seen so far and perhaps it’s time to think again about gender and crime fiction?
I enjoyed Witnesses but I think it was too long (8 x 1 hour episodes) and too complicated. By the end I had forgotten elements of the first two episodes and I’m not sure I fully appreciated the narrative resolution. The first season was only six episodes and that seemed right.
After burying myself in Patricia Highsmith adaptations for a couple of weeks, it was quite refreshing to switch to this little gem of a Georges Simenon adaptation. The Blue Room stars Mathieu Almaric and he directs the film himself. The film is only 75 minutes long but none of the time is wasted.
Julien (Mathieu Almaric) is the owner of a business selling and renting out agricultural equipment in Central France. He has an attractive modern house, a beautiful wife and child but he has met again the girl he desired at school. She is now helping to run a pharmacy in a nearby town and she has an older husband who is ailing. She is very much up for an affair and the couple meet for afternoons together in a local hotel with a ‘Blue Room’ that becomes their regular site for passion.
The film is presented as a sequence of short scenes with ellipses. It reminded me somehow of Chris Marker’s La jetée (France 1962) – which is a narrative made up of still images. The story is narrated via flashbacks – Julien’s memories – and through the questioning by the local examining magistrate and a prison psychologist after a crime has been committed. Finally, there is a court scene in a traditional small town courtroom with locals crammed in to witness events. Much of the interest in the film is in its formal precision. The aspect ratio is Academy 1.37:1 and Almaric explains the reasons for this in the film’s Press Notes. This choice seems to be becoming more common. For me, it worked as this is a ‘chamber film’ with a clear sense of entrapment and the squarish ‘enclosed’ screen space seemed appropriate. Almaric says that the panoramic feel of widescreen would have created something different. The other two factors are the use of carefully chosen musical scoring from Grégoire Hetzel and photography that depends on many quite static shots composed by Christophe Beaucarne.
This kind of film defeats some conventional perspectives. I’ve seen it described as an ‘erotic thriller’. IMDb lists the various classifications in different territories. In the US, the MPAA has it as ‘R’, presumably because there is some full-frontal nudity (‘graphic nudity’!). In the UK, the BBFC has it as a ’15’ . In Germany it is ’12’ and in France it is for ‘Tous publics’. The film isn’t directly ‘erotic’ and the nudity is post-coital – I’m not sure it is a ‘thriller’ either, although there is one scene that might make you jump. What is transgressive is that the nude bodies are presented in a realist way. It’s a hot day. Sex has made the lovers sweat, there may be semen and there is certainly the drama of a spot of blood dropped on a white towel – a lip has been bitten in the heat of passion. Any eroticism is really in the mind, in the thrill of the secrecy of an affair and in the woman’s open desire – and the man’s acquiescence. Esther is played by Stéphanie Cléau who is also credited as co-writer of the film. She is physically taller than Julien and also more confident and assured in herself. I don’t think she is a type as such, even though we learn little about her – and what we do know comes from Julien’s memories. (I say this because some US reviews refer to ‘similar’ Hollywood genre movies which I think work quite differently.) Stéphanie Cléau is not a film actor. Her experience is in theatre as a writer and indeed there is something compellingly different about her brave performance. Almaric says that since Julien’s wife Delphine is played by an actor (Léa Drucker), it was important that Esther wasn’t a ‘known face’ because then it would be a contest between two actors. Esther is the initiator of the way the affair moves – Julien is in some ways the ‘willing victim’. All three leads are excellent.
On one level this is the story of how an affair can destroy a marriage, mapped out in the clinical investigations by a magistrate and a psychologist in prison. On a second level it is a cinephile’s treat, a delirious mix of influences and connections. Simenon’s novel comes from the early 1960s and it is a familiar story he had honed over many years. He’s been adapted many times and Amalric tells of how he acquired the rights at a time when he had a gap in projects and the chance to make a chamber piece in a short time. The most obvious lineage for the ideas in the film is from Simenon to Chabrol via Hitchcock. There is that same sense of a bourgeois affair, especially in small-town France. Rather than a thriller though, it is like a mystery – a ‘whydunit’. We get strong clues to how one crime might have been committed but we aren’t sure how another might have happened. Even more of a mystery/intrigue is why Julien would stray from his wife and child. In the most memorable line from the film, Julien reflects, “Life is different when you live it and when you go back over it after”. The trailer below offers a good sense of the formal qualities of the film. I’m struck again by the power of the music to suggest or perhaps to question emotions. Amongst a string of influences (Preminger, Fritz Lang) Almaric and Hetzel have created a blend of Hitchcock and Bernard Herrmann with Truffaut’s use of Georges Delerue in La femme d’à côté (1974).
This is a film to watch and re-watch. In the UK the film has been in a handful of cinemas (Picturehouses claims it provided one of their busiest ‘Discovery Tuesday’ audiences) and is also available on VOD.
The film’s trailer (in the correct ratio – the US trailers falsely represent the film)
This extraordinary film is an adaptation of Patricia Highsmith’s third novel The Blunderer published in 1954 in between The Price of Salt (that later became Carol) and The Talented Mr. Ripley. The French title means ‘The Murderer’ – I’ve also shown the English, Italian and German titles in this post. As far as I can see, the film follows the novel fairly closely – shifting the action to the area around Nice in the Alpes-Maritimes region of France, but keeping the names of the characters. I confess that I was quite surprised that the behaviour of the characters in the film was indeed based on Highsmith’s characters – but then I shouldn’t be surprised. The film’s narrative is actually very recognisably ‘Highsmith’, but the presentation is definitely odd.
In outline we have the familiar Highsmith model – two men linked in some strange way, involving murder and with the female characters mainly functional rather than ‘active’. The wonderfully named Melchior Kimmel is a bookseller who one night murders his wife after arranging an alibi. An architect, Walter Saccard, is trapped in what he feels to be a painful marriage and is chasing a young music student. He reads about the murder of Kimmel’s wife in Nice Matin and decides to visit the bookshop. Later he investigates Kimmel’s alibi and sets in motion the extraordinary incidents that will tie the two men together. The third crucial (male) figure in the narrative is a deranged police detective, Corbi – the like of which I’ve rarely seen before. Highsmith certainly doesn’t do police procedurals! I won’t spoil the narrative any more if you want to read the novel.
Co-productions were common in France in the early 1960s, especially with Italy and Germany. (In 1963 there were 36 ‘French’ productions and 105 ‘co-productions’ listed for the French film industry –Encyclopedia of European Cinema, ed Ginette Vincendeau, Cassell/BFI 1995.) In this case, the co-production was presumably a factor in the casting of Gert Froebe as Kimmel. Others in the audience expressed the view that Froebe was dubbed (he swears in German several times) and that Yvonne Furneaux (who had been at Oxford and worked in the UK film industry) was also dubbed as Saccard’s wife Clara. My poor ear for French couldn’t distinguish if this was the case – much of the dialogue seemed to be shouted anyway! The important production issue is really that this is an example of what François Truffaut famously dismissed as ‘le cinéma de papa’. Le meurtrier was scripted by the team of Jean Aurenche and Pierre Bost, Truffaut’s main villains, and directed by Claude Autant-Lara, a director he put in the same category. Truffaut wasn’t alone. Most of the critics on Cahiers du cinéma loathed directors like Autant-Lara. Jacques Rivette in 1957:
I think that Autant-Lara, Clément and Clouzot are all sickening . . . people who have been corrupted. (quoted in Cahiers du Cinéma: The 1950s, ed Jim Hillier BFI, 1985: 39)
Rivette was arguing that Autant-Lara and the others were simply interested in making money and that they would refuse to work ‘on the street’ like Rossellini, making ‘social films’. This perspective needs to be placed carefully in context. Like much of the Cahiers polemic there are many issues to be aware of. Truffaut’s charge was that the ‘cinema of old men’ was too attached to literary sources, that it relied on tight scripts and studio sets and that it peddled a form of middle-brow entertainment with little artistic expression. Truffaut himself used similar kinds of ‘literary texts’ early in his career, ranging from literary novels to Série Noire thrillers and his true cinematic auteur, Alfred Hitchcock, had already adapted Patricia Highsmith’s Strangers on a Train in 1951. By 1963 when Le meurtrier appeared, Truffaut’s charge had lost much of its impact following René Clément’s Highsmith adaptation Plein soleil, released in 1960. Clément was another of the ‘old guard’ but his version of The Talented Mr. Ripley was in glorious colour, had a great Nino Rota score, camerawork by Henri Decaë (who photographed Truffaut’s 400 Blows) and outstanding performances by a young Alain Delon and Maurice Ronet. In fact it has been claimed to be Highsmith’s favourite of the adaptations of her work (she died in 1995). Seeing it today Plein soleil looks as fresh, youthful and exciting as anything from La nouvelle vague. But is this true of Le meurtrier?
Much of Le meurtrier is shot on location around Nice and these scenes feel ‘modern’, but the interiors are shot at the Victorine Studio in Nice and these aspects do feel quite old-fashioned. The reality is that Autant-Lara and his collaborators were indeed ‘old men’ as seen by Truffaut. The director was nearing 60, the writers were roughly the same age or older. Many of the others in the creative team were born before 1914. This doesn’t make them poor filmmakers but it does help to explain part of the animosity of young critics who wanted themselves to be young filmmakers. Two other bits of trivia may or may not be interesting. The shoot included two couples. Marina Vlady (who plays Ellie, the music student) had been married young to Robert Hossein who plays the deranged detective. They had already split up by 1959. Later Vlady would become known as the central ‘character’ in Jean-Luc Godard’s Two or Three Things I Know About Her (France 1967). Yvonne Furneaux married the director of photography on the film Jacques Watteau in 1962 – before or during the shoot. Maurice Ronet is the real star of the film and he seems to have been happy to appear in the films of the ‘old guard’ and those of the New Wave filmmakers.
I don’t think all this background necessarily ‘explains’ why the films feels so ‘odd’ but it helps. I was certainly ‘entertained’ by the film, even if I found some scenes to be quite poorly executed. Highsmith’s narratives are often dependent on very unexpected behaviour by characters and by coincidences accidents that might be expected in melodramas. In the other adaptations these are acceptable and perhaps hardly noticed because of the performances and the maintenance of a tone that accommodates the violence and the black comedy. I wasn’t sure that was the case in Le meurtrier. Sometimes it was impossible to ‘suspend disbelief’. Who, it might be asked is ‘The Blunderer’ of the title? It could conceivably be any of the three leading male characters. Kimmel is overweight and very shortsighted (his glasses remind us of Strangers on a Train). Saccard lies very badly and makes a string of mistakes in what he does and how he talks to the detective – and the detective himself is just extraordinary. The music score has been interpreted as an attempt at the kind of scoring used by Hitchcock, especially with Herrmann. I didn’t think it worked and it only made it more difficult for me to work out what kind of film this was.
I understand that Keith Withall is going to write something about the overall technical aspects of the prints in this season. In this case, we had been ‘warned’ that the DCP had been created from a worn 35mm print and that we might expect scratches. These turned out to be very minor. There were two issues for me. The print was quite soft and faded – as if there was a lack of contrast in the black and white images. This meant that several interior scenes which appeared to have been lit/designed to create film noir images were instead simply grey or murky. The second issue was that the presentation was supposed to be 2.35:1 as the film was shot on ‘Franscope’. To my eye, although it looked like a ‘Scope shape, the image was squashed vertically so that the characters were slightly flattened and ‘fattened’. Gert Froebe became even more immense, but so did Maurice Ronet and Marina Vlady, the ‘glamorous couple’. I’m not sure how this could have happened and it could have been an issue about projector settings and the DCP as much as with the transfer from film. Finally, as with the two previous screenings, the mono sound seemed ‘bright’ and ‘harsh’. These niggles aside, however, I’m grateful to have had the chance to see this example of mainstream French cinema of the early 1960s.
For details of the ‘Adapting Miss Highsmith’ Season go to the website.
My second Patricia Highsmith adaptation in the touring film season was The Glass Cell at HOME in Manchester. This time it looked to be a DCP from an old video copy. The image was degraded but the subtitles were pristine digital and the sound was the same loud and ‘over bright’ mono as at the Hyde Park in Leeds in Deep Water (France 1981). The image didn’t really do justice to the work of cinematographer Robby Müller and, as with editor Peter Przygodda, this was his second Highsmith adaptation in a row, following Wim Wenders’ Der Amerikanische Freund (1977), based on the novel Ripley’s Game (1974). The Wenders connection is also carried through in the shape of director Hans W. Geissendörfer who was a founder member of the Filmverlag der Autoren which produced or distributed many of the films of the ‘New German Cinema’. The Glass Cell is a more ‘popular’/conventional film than most of the New German Cinema films, but it is still a film that deserves attention. The ‘production supervisor’ on the film was Bernd Eichinger, one of the most important figures in German cinema from the mid-1970s up until his death in 2011. The three leading players were all well-known in European cinema. Both Helmut Griem and Dieter Laser were leading German players with international production experience and Brigitte Fossey was borrowed from French cinema.
The film’s plot is familiar and very much what we might expect from Highsmith (it’s an adaptation of a 1964 Highsmith novel with the same title) – it even includes the train which brings Phillip Braun (Helmut Griem) back to Frankfurt after a five-year prison sentence for causing death and injury through shoddy work as an architect on a building project. Quickly explained in an expressionist flashback in the first few minutes of the film, this is quite difficult to grasp in terms of detail and I’m not sure that the subtitles explain enough about the legal questions. Phillip is still convinced that he was set up by Lasky (Walter Kohut) the crooked accountant/speculator on the building project. Somehow, a large sum of money is missing and the assumption is that Phillip has taken it and used cheap and unsafe substitute materials. During his nearly five years ‘inside’ Phillip has suffered mentally and also seems to have lost something of his status as husband and father with his wife Lisa (Brigitte Fossey) and his son Timmie, both of whom seeming to have fallen for the slick lawyer David Reinalt (Dieter Laser) – who was supposedly Phillip’s top legal counsel in his defence. Reinalt still maintains that Lasky is behind all Phillip’s problems. He tries to help Phillip find a job, but also seems to be overly supportive of Lisa and Timmie.
As in Deep Water, Highsmith’s story is about a faltering marriage in which the husband is prompted to take drastic action. In this case, however, there is a more acute police presence placing the criminals in jeopardy. I won’t spoil the narrative pleasure, but I found the resolution of the narrative curiously satisfying. There are several recurring Highsmith tropes and direct similarities with Deep Water. Once again there is a bright child of the marriage – Timmie plays the flute and he gives a performance attended by his parents. There is a party where Phillip loses control. As in Der Amerikanische Freund, one of the marriage partners is engaged in art work. Lisa decorates pots and she works in a bookshop. There is mileage in the possibility of an expressive mise en scène based around artworks but because of the murky print it was difficult to see much detail. The whole film is dark and brooding (underlined by the soundtrack early on) but whether deliberate or a function of the degraded image, I can’t be sure. The main action is set in mid-winter so the darkness is realistic. In his notes on the touring season’s website, Pasquale Iannone praises Müller’s streetscapes and there is indeed a deep sense of gloom and despair in Helmut Griem’s walks through the city. As Iannone also points out, the adaptation changes the novel by focusing much more on the ‘post prison’ events, but heightens our understanding of Phillip’s internal anguish by having the letters to him in prison from Lisa read out on the soundtrack. The violent action in the narrative is well-handled and one scene in particular in a raucous beer hall is very effective. Other scenes in apartment blocks feel Hitchcockian in chance encounters with potential witnesses – a nice bit of play with a dog in a lift.
I enjoyed the film despite the image quality and, as in Deep Water, the real pleasure came from the performances and the direction. Helmut Griem as the central character is excellent with a look of utter calm that suggests both coldness and possibility of despair. Brigitte Fossey is equally compelling. I’m definitely going to try to see more of the films in this season. The Glass Cell was a West German entry for Best Foreign Language film in the 1979 Academy Awards. There are four more films in the season coming to HOME and also more screenings at the Hyde Park in Leeds, Showroom, Sheffield and Rio, Dalston and other venues. Please support this excellent season.