After yesterday‘s peculiar mixing of styles I immediately stumbled across another example with this melo-noir. The reasons for the strange combination are easy to trace through the scriptwriters: Sam Fuller’s noir script, good guy brought down by bad woman (who is really good), was rewritten by Helen Deutsch of National Velvet (1944) fame. In its widest sense most films are melodrama as they require a contrived narrative and character types to function as mainstream texts but in this context the melodrama refers to the way, as Slant magazine has it, Deutsch ‘lobotomised’ the noir intentions.
Whilst the enigma of Patricia Knight’s femme fatale is interesting – is she as bad as she appears? – the schmaltzy home environment of the schmuck (Cornel Wilde), complete with ‘cute’ kid brother and smiling blind mother, suffocates the nihilism that John Baragrey’s bad guy struggles to sell (the ending is terrible).
Sirk’s expressionist visual style, that is celebrated in the melodramas that were to follow in the ’50s, is directly wedded to noir‘s visual style, if not the narrative. As can be seen in the publicity photo above, chiaroscuro lighting is present but my overall impression when watching the film was it is not one that relishes the noir visual style. Knight’s femme fatale, however, could be the cousin of Gilda who did go wrong. Sirk seems most interested in the interiors of the home, the key setting for melodrama.
Cornel Wilde has the thankless task of the parole officer who is unbelievably ‘good’. One thing noir movies reeked of was sex but Wilde’s far to anodyne here (not blaming him specifically – could be the script). It’s as if the Production Code had been swallowed when noir movies tended to push it as far as they could.
Apparently Sirk was so disillusioned with Hollywood after making the film he returned to Europe. Fortunately he came back to make some of the greatest Hollywood films of the era.
Tikli and Laxmi Bomb was the final film screened in HOME Manchester’s ‘Not Just Bollywood’ season. It was introduced by the season’s curator Omar Ahmed who added to his review of the film on his blog at Movie Mahal. Omar usefully contextualised this film, about two female Mumbai sex-workers who rebel against the control of the pimps and corrupt police, with references to the contemporary cycle of Indian films about the ‘New Woman’. Just as importantly, he also recognised that there have been films throughout Indian film history which have attempted to present the ‘New Woman’, most notably perhaps by Satyajit Ray in Mahanagar (The Big City) in 1963. Another way of looking at this is to think about the stories of courtesans in the Mughal era who have featured prominently in historical Indian dramas and whose presence has often shifted readings of the male characters in the films.
The film is an adaptation by Aditya Kripalani of his own (third novel). It’s Kripalani’s first feature as a director and in addition he produced the film and worked with the film’s music composer, Marcus Corbett. (See the YouTube clip below for the story of the film’s crowd-funding.) I tend to agree with Omar’s comments on the film. I found it engrossing and thought-provoking throughout and the two central performances by Vibhawari Deshpande as Laxmi and Chitrangada Chakraborty as Putul/Tikli are quite stunning. The ensemble cast members are well-written, as is the action in each scene as might be expected from a filmmaker coming from a scriptwriting and literary background. I’m less sure about the flow of the overall narrative structure and the mixing together of seemingly different filming styles. It appears to be an independent film which has not quite digested the generic conventions of the mainstream that it hopes to incorporate. In addition there are a number of devices in terms of the use of songs and moments of reflection which work well on their own terms but perhaps stand out too much in the film overall. The films lasts around 150 minutes. I was never bored throughout the long running time, but there were several moments when I thought we might have reached an ending but after another fade to black the film carried on. There was no Intermission as there might have been in a mainstream film.
As I’ve tried to indicate, the narrative uses generic conventions but in a sense supersedes them by developing ’rounded’ characters for the two leads. Laxmi is a street prostitute working with a group of women on a dark roadside in Mumbai. She’s an experienced worker who ‘mentors’ the new girls and her pimp brings her Putul, a seemingly lively and smart young woman, who will stay with Laxmi, sleeping in her room until she knows the ropes. Putul soon reveals herself as no timid victim and Laxmi finds the roles in their relationship almost reversed as Putul (who gains the nickname ‘Tikli’, meaning ‘short fuse’, I think) begins to break the rules and threaten to subvert the system. We gradually learn something of the characters’ backgrounds, though little is stated directly. I noted the Prabhat Studios poster on the wall. The famous studio from the 1930s and 40s was based in Pune, where Vibhawari Deshpande was born. Laxmi is to some extent the local, whereas Chitrangada Chakraborty, as her name suggests is from Calcutta and Putul is a stranger to Bombay.
The film’s main strength is the way in which Aditya Kripalani explores the structure of the street prostitution racket. He offers us an almost ‘procedural’ presentation, taking us carefully through the process to show how the women take payment before a ‘trick’, how they have a ‘protector’ in the form of an auto-rickshaw driver, how they pay a percentage to the pimp and how the police round them up every few weeks – but drop charges because they have been paid-off by the pimp. And with power over everything (and everyone) there is a ‘super pimp’ who is aiming to be elected as a politician. Having laid all this out, Kripilani then uses Tikli and Laxmi as agitators who explain to the other women how they are being oppressed and how they could subvert the system by ‘doing it for themselves’, cutting out the men who oppress them and keeping a greater percentage of their earnings. There is a scene in a local café in which Lami and Tikli explain their plans and one of the older women plays the character who argues that what they are suggesting just can’t work. For a fleeting moment I was reminded of the famous scene in Ken Loach’s Land and Freedom (UK-Spain 1993) when villagers argue about land seizure during the Spanish Civil War.
The weakness of the film is that the villains, the pimps, the auto-rickshaw driver, the hired goons and corrupt police are simply generic types and this undermines both the performances of the leads and the writing of the scenes between the women. The two central characters develop so that we care for them but this in turn is lost in a genre climax with a chase scene. At the end Kripalani adds a short coda with a little twist which gives a positive note. As well as noting the filmmaking flaws, I agree with Temple Connolly in feeling that the film’s poster suggests a kind of ‘tacky sex comedy’ (see the first image of the trailer below). Tikli and Laxmi Bomb (which refers to the women as a ‘street gang’) has moments of humour but is essentially a serious film with an important argument to make. I want therefore to praise the filmmakers for broaching the subject of street prostitution and recognising the exploitation of women, but also their capacity to organise and to fight back. They demonstrate solidarity and an understanding of patriarchy and how to fight it. I understand that many of the heads of department on the crew were women and certainly the general representation of the female characters is quite different than the usual exploitation film with its ‘male gaze’. The film has been successful at various international film festivals, showing in London, Leicester, New Zealand and Berlin as well as Manchester and winning various awards. In India the film is distributed by Netflix, which alongside Amazon seems to be the saviour of certain kinds of Independent Indian films (see Rajat Kapoor’s comments during last year’s ‘Not Just Bollywood’ Q&A and screening of Ankhon Dekhi).
The trailer below opens with Putul recording a selfie video to place on Facebook, much to the bemusement of Laxmi. I wonder if Facebook would feature so prominently if this film was made now? Perhaps it has a different cultural status in India. The remainder of the long trailer gives a good idea of the mix of styles in the film. Below it the director addresses the camera in his attempt to find funding for the shoot.
There were many British films of the 1950s that referenced the 1939-45 war and its aftermath. For several reasons they’ve attracted negative coverage from many film historians, scholars and critics, much of it unwarranted. One misconception is that they are all similar. This particular example is from a sub-genre dealing with the ‘returning soldier’. In this specific grouping there are some interesting films which also draw on other genres/categories, especially film noir melodramas such as Mine Own Executioner (1947) and Cage of Gold (1950). Others drew on noir crime stories like They Made Me a Fugitive (1947). The Intruder isn’t quite the crime drama its title suggests, though there are crime elements in the mix. Neither is it a melodrama, though there is a kind of surrogate father-son relationship at its centre. It is a strange mixture of drama with a couple of comic sequences – a combination that IMDb implies was a feature of the work of Guy Hamilton, best known for his war pictures and later James Bond/Harry Palmer films. This was just his second directorial venture, working on Robin Maugham’s adaptation of his own novel.
The film begins with stockbroker Wolf Merton playing golf. A wayward shot takes Merton’s ball off the course and into a scrapyard where later Hammer favourite Michael Ripper is cutting up war-time tanks. We will soon learn that Merton was a Colonel of a tank regiment. When he gets home (in Central London) he surprises a burglar (the ‘intruder’ of the title) who turns out to be one his men he hasn’t seen for seven years. Before he can reason with ‘Ginger’ Edwards (Michael Medwin), the young man runs off, taking Merton’s revolver. At this point we get the first of several flashbacks to wartime incidents and we realise that Edwards was a brave soldier who looked out for his mates. We also sense that Merton (Jack Hawkins) was a successful leader of men and that he was well aware of Edwards’ qualities. He determines to track Edwards down and find out why he has turned to crime. The film’s narrative thus becomes a succession of meetings with a group of men who were in the same unit, building up to a final showdown when Merton will again confront Edwards.
I enjoyed The Intruder. It looks good with photography by Ted Scaife and Maugham’s story ideas are strong (he later wrote the novel The Servant adapted by Harold Pinter for for Joe Losey). The ending is rather abrupt and may not satisfy everyone but that could be a budget problem. As it is, the film is a brisk 84 minutes into which a drama with plenty of action and several characters’ stories are inserted. The film was made by British Lion at Shepperton and received a circuit release in ABC cinemas. The cast is strong with Hawkins that year also leading in the biggest British film of the year The Cruel Sea. Hawkins is both the genuine star of the film and possibly an indicator of some of the problems for older audiences now. Throughout the 1950s, Hawkins’ gruff but almost avuncular authority figure inhabited similar roles in Army, Navy and Air Force officer roles as well as Police Superintendents/Commanders etc. Occasionally he could be less avuncular and much tougher as in The Cruel Sea and sometimes he could ‘go wrong’ as in The League of Gentlemen (1960). We soon know who he is in The Intruder which does diminish his impact a little – but he’s such a good actor he’s always worth watching.
We also know who everyone else is, partly because we’ve seen them in later films. So, when we see Arthur Howard as a soldier in the Pay Corps we aren’t at all surprised that in civvy street he is a dotty schoolteacher, since in 1956 he began to appear on TV in the sitcom Whack-O! as a dotty public school teacher in the Jimmy Edwards series. Similarly, a young George Cole, like Howard and Dora Bryan as an ENSA ( girl, is in a comedy sequence (ENSA put on entertainment shows for the troops) and Dennis Price is a slimy and cowardly officer who becomes an equally creepy businessman (who keeps the title ‘Captain’ much to Merton’s disgust). I’m not sure if the comedy sequences really work in the context of the drama but the George Cole routine is used to show up the class divide in the army (Cole’s character is an enlisted man who is commissioned by Merton). When we do get to find out what started the trouble for Ginger, it too has an element of social commentary. So, I think overall, The Intruder works as a worthwhile ‘war aftermath’ picture. I won’t spoil the narrative, only point out that there is no indication of whether Merton has been married or has always been single and Ginger’s story could be related to Merton’s own story if there was more narrative space to explore such ideas. But there is quite enough there already. Enjoy The Intruder on Talking Pictures TV, Network DVD or Amazon Prime.
Jean-Pierre Melville was one of the most distinctive filmmakers of his generation and a major influence on those who followed. A retrospective of much of his work was shown in New York earlier this year where Keith was able to see three films and in a BFI touring season in the UK a few months later. I couldn’t get to any of these screenings in Melville’s centenary year but I have finally managed to get hold of his last film, Un flic from 1972 (he died in 1973).
The Optimum PAL DVD released in 2007 delivers a screen image that seemed a little ‘blue’ and washed out to me. DVD Beaver’s report suggests that this is likely to be an accurate presentation and certainly the tone of the film is suited to a ‘cold’ aesthetic. Melville’s crime films – polars in France – had a chequered history in UK distribution. Researching Un flic, I discovered that it was given a BBFC ‘X’ certificate as The Cop in July 1971 after unspecified cuts. The certificate went to Gala, yet the film wasn’t released in the UK until 1974 – in a dubbed version distributed by Columbia-Warner. There is a review by Tony Rayns in the September 1974 issue of Monthly Film Bulletin. The DVD offers a print in 1.85:1 ratio but IMDb suggests the original was 1.66.1. An alternative English title Dirty Money appeared on UK dubbed cinema prints and US DVD releases at a later date. Melville’s polars appeared in the UK when ‘popular’ European films were often dubbed and released through commercial ‘chain’ cinemas. What is now considered a ‘specialised film’ (or still ‘arthouse’ by some) like Un flic, in the 1960s and 1970s appeared in Odeons and ABCs alongside spaghetti Westerns, Italian horror and Scandinavian soft porn.
Dirty Money is not a bad title for the film whereas Un flic is arguably misleading. Alain Delon (who featured as the criminal in Le samouraï (1967) and Le cercle rouge (1970) for Melville) is this time the cop. His adversary is played by the American actor Richard Crenna (dubbed into French for the accent despite being able to speak French) and Cathy, the woman who has a relationship with both men, is played by Catherine Deneuve. Delon gets top billing but I suspect that Crenna has more screen time and it often feels like he is the focus of the narrative. Simon (Crenna) runs a Parisian night club but is planning two major robberies – the first to raise money to finance the second.
The narrative structure of the film is unusual. Melville offers us not one but two long robbery sequences and between them these take up a significant amount of the film’s running time. Neither of the two sequences could be described as ‘action-packed’ but they are both very well thought out and, by including every painstaking stage in the procedure, Melville is able to make them gripping. The opening bank robbery is being set up as the credits appear on screen. It’s set on the windswept promenade of a town in La Vendée on the Atlantic coast. Not a soul is in sight (it’s December and raining heavily) but when the robbers in coats and fedoras enter the BNP building on the corner there are several customers already being served just before the bank closes. The getaway from the robbery is quite novel. The cut from the deserted beachfront into the inviting bank interior signals the ‘artificial’ nature of the mise en scène. During the robbery Melville cuts away to central Paris where Commissaire Coleman is setting out on his evening shift and he gives a voiceover from his car about the tedium of his work. Meanwhile the robbers in an American Plymouth car exchange cars for a Mercedes during a clever getaway procedure.
This artificiality is present in many of the scenes that follow. In one, Simon and Cathy leave the club in a car driving towards what looks suspiciously like a painted backdrop of a Paris street ahead. A cut then takes us into a Van Gogh street scene with the camera pulling back to reveal that the painting is in a gallery (the Louvre?) where three of the robbers are meeting. The gallery too appears to have a painted backdrop to represent an extension to the gallery space. I was amazed to realise that this Melville film made in 1971 vies with Hitchcock’s Marnie (1964) as a cause celèbre of matte painting – and model work. When the second robbery occurs on a train, Simon is lowered onto the moving train from a helicopter and this is accomplished with a studio mock-up of the flying ‘chopper and models used extensively for the train and chopper shown in long shot. It is so obvious that you feel it must be deliberate and the crudity of the presentation clashes with sophistication of the script. (The sequence lasts around 20 minutes.) I’m not sure I’ll ever manage to sleep on a train again given the way that Crenna breaks into a locked apartment.
The same artificiality manifests itself differently in the performances of Delon and Deneuve in particular. Delon is almost expressionless in his scenes, a cold and deliberate law enforcer. Deneuve is in her immaculately coiffured ice maiden mode. Perhaps it is Crenna’s Hollywood background that makes him appear slightly warmer. One of the strongest elements of Melville’s polars is the relationship between the investigating lawman and the principal criminal. In Un flic the two characters are mirror images of each other – a situation compounded by their shared interest in Cathy.
The film begins with the quote above from Vidocq (1775-1857), the founder of the French national police force. The subtitles translate this as “Man has only ever inspired ambiguity and ridicule in a police officer”. So Coleman is shown as peremptory in his treatment of the routine cases brought to his attention and shows little emotion even when faced with the murder of an attractive young woman. Coleman seemingly treats everyone coldly (and this seems also true of his relationship with Cathy). The other two contacts that he makes are with a gay couple, an older man and an under-age youth who has attempted to steal a valuable sculpture, and with his own informer, a transgender character who is beautifully dressed and carefully made up. This person is treated badly by Coleman. Because Simon is a mirror image of Coleman, does this mean the flic is ambiguous about himself? Melville doesn’t give us any clues. It’s as if he wants to explore the terrain of the polar, drawing on its American cultural links, primarily in terms of its locales and mise en scène as well as its usual scenarios – the carefully planned crimes, the police procedures and the wordless communications about friendship and betrayal. Significantly, the key scene between Simon and Coleman is mainly about the eyes.
I need now to rewatch the earlier films, but for the moment I’ll be investigating other 1970s thrillers, political thrillers, as part of a new major season at HOME. Before I leave Un flic, however, I want to comment on the reviews and synopses for the film in the archives and on the web. When I found David Overby’s review in Sight & Sound Autumn 1974 I was amazed to see that he transposed the two central characters and also situates the bank raid at the beginning in the Paris suburbs! I respect Overby’s work and I know how difficult it was in the days before internet resources to check cast lists and locations, but these mistakes seem extreme. Tony Rayns in his review gets the train robbery wrong thinking the train is going to Italy via Marseilles. Even HOME’s programme notes (presumably using BFI notes) sets the bank robbery on the ‘Riviera’. There seems to be an almost pathological desire to misrepresent what is actually on the screen. I doubt this is deliberate but it must mean something – perhaps the dubbed print is the problem? In reality, Melville’s script is finely detailed. So the train heist is planned for a stretch of railway line, “the oldest electric line in France, dating back to 1963”, which is being upgraded and therefore diesel-hauled. The robbers have twenty minutes to complete their task before they run the risk of being entangled in overhead lines when the helicopter attempts to retrieve Simon from the train. Whatever one might think about the strange triangle at the centre of the film, the robberies are presented in incredible detail. I think film students could learn a great deal from Melville’s work on this film narrative. He remains for me the past master of the crime film.
The early 1950s has often been dismissed by critics as a weak period in British cinema, when British producers churned out war films and comedies that were popular but not very interesting. In reality this was a stable production period in which British films competed very well with a diminished Hollywood for a big share of over 1 billion cinema admissions annually in the UK. There were also some excellent films that are certainly worth re-visiting. The Long Memory is one of the best and over the last few years plenty of viewers seem to have found it (many on a DVD box set of John Mills performances). The first point of interest is its director Robert Hamer, the genius at Ealing whose later career was damaged by alcohol. Hamer left Ealing after making three well-received films, Pink String and Sealing Wax (1945), It Always Rains on Sundays (1947) and Kind Hearts and Coronets (1949). He’d also directed a segment to the portmanteau film Dead of Night (1945) and made uncredited contributions to San Demetrio, London (1943) and The Loves of Joanna Godden (1947). Charles Barr (in Ealing Studios, Movie, 1977) picks out Hamer (and Alexander Mackendrick) as the Ealing directors who showed most ‘personal continuity’ and exemplified the best of ‘mature Ealing’. It’s fairly typical that in a Guardian piece in 2004, Kevin Jackson ignores The Long Memory completely and focuses primarily on Kind Hearts and Coronets. Keith is a big fan of that fine film and writes about it on this blog, but I prefer the other Ealing films and The Long Memory.
Why Hamer left Ealing isn’t clear to me but the consensus seems to be that he had a conflict with studio head Michael Balcon and decided to strike out as a director for hire with various producers. The Long Memory is the third of his features in this freelance career. Although made for two small independents, Europa Films and British Filmmakers, it had the backing of Rank and was an ‘A’ release on the Odeon circuit in 1953 with a starry cast led by John Mills. Mills plays Phillip, a ‘wronged man’ first seen on the day of his release from prison, arriving back in London and then heading down the Thames to find a home in an abandoned barge near to Gravesend. He is followed by a plain clothes police officer. A flashback then reveals that he once had a girlfriend, Fay (Elizabeth Sellars) whose father was an old ship’s captain mixed up in smuggling. Phillip got caught up with the smuggling operation and following a fracas he was arrested and convicted of a crime he didn’t really commit. After 12 years inside he discovers that Fay is now married to a police Superintendent (played by John McCallum, one of Hamer’s actors from Ealing). Why did she betray him? Who else might Phillip want to seek out for revenge?
The Long Memory is notable for both its contemporary concerns – the arrival of refugees in the UK, the importance of smuggling and the black market in a period of austerity (rationing was still in force in 1952) – and its distinctive visual style. Oddly, its narrative doesn’t seem to acknowledge the war directly – Phillip would have been sent to prison in 1940. The film is strikingly shot, making use of the stark landscape of the estuary mudflats and the whole river environment as far up as Tower Bridge. The landscape is similar to the Romney Marsh wetlands of Kent and East Sussex on the South Coast which featured in The Loves of Joanna Godden. Douglas Slocombe, who shot that film, was still working at Ealing in 1952 and Hamer communicated his ideas to Harry Waxman, another distinguished British cinematographer whose previous titles included Brighton Rock (1947) and who would later shoot The Wicker Man (1973). Waxman covered much of the action in long shot on the mudflats and in beautifully orchestrated chase sequences. At other times the film takes on a noir atmosphere – the story, from a novel by Howard Clewes, a well-known ‘action’ novelist of the period, shares elements with several other British films of the post-war era. The ‘wronged man’, the black market and the revenge narrative were also the basis for They Made Me a Fugitive (1947), a classic British noir directed by Cavalcanti, Hamer’s mentor in his GPO Film Unit and early Ealing days. Basil Dearden, Hamer’s directing colleague at Ealing, made The Ship That Died of Shame in 1955 about a trio of ex-Navy men who run a smuggling boat until their confidence gets the better of them and in an actual Ealing film, Pool of London (1950), there are similar chase scenes through night-time London, as there are as well in the classic Jules Dassin film Night and the City (1950). British noir was strong for several years from 1947 through to the late 1950s (though it wasn’t described as such at the time) and Hamer certainly knew what he was doing. In a marvellous sequence, Phillip, the Mills character, watches a house in Gravesend throughout the night – and is in turn watched by the police. From inside the house, a frightened man peers through the letterbox to see Phillip framed half in the shadows but clearly visible.
Hamer began his career as an editor and in the second half of The Long Memory his editor Gordon Hales puts together an exciting chase sequence with parallel actions in different locations involving different couples whose lives are intersecting. This may be a relatively conventional crime thriller but it is presented with real flair and I wish I could see it on a big screen. Part of the pleasure is in recognising the array of British character actors – Geoffrey Keen as a principled investigative journalist on a Sunday tabloid, Peter Jones as a younger journalist with much to learn, John Slater as a rather dim-witted heavy, Thora Hird as his wife, Vida Hope, Laurence Naismith and more.
The Long Memory is fine as it is but it’s worth noting that the off relationship between Fay and Bob Lowther the police Superintendent seems to signal a growing interest in the domestic melodramas of the families of police officers in later police procedurals in the 1950s, both in the UK and the US. In the clip below the journalist and the police Superintendent discuss Phillip Davidson’s possible actions – does the journalist know that the woman he suggests is in danger is in fact the Superintendent’s wife? The clip includes some interesting location work (I love the sound of the steam train towards the end of the clip).
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.
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).
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.
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.
Here’s a good example of the new form of Indian cinema the (H)indie or ‘New Bollywood’ film. Talvar boasts two of the stars of crossover films in India in lead roles and a third in a cameo role. Irrfan Khan is now one of the best-known Indian stars worldwide after appearances in global blockbusters like The Life of Pi and Jurassic World, as well as both Indian independent and mainstream Bollywood films. Konkona Sen Sharma is known for Bengali films, Bollywood films and the independent films of her mother Aparna Sen. Tabu starred opposite Irrfan Khan in Mira Nair’s The Namesake (2006) and a host of other independent films as well as Bollywood films. Here she has a small role as the wife who Irrfan’s character is divorcing. The film is a directed by Meghna Gulzar with script and music from Vishal Bhardwaj, the director of acclaimed Shakespeare adaptations Maqbool (2003), Omkara (2006) and Haider (2014). Each of the three stars have worked with Bhardwaj before (Tabu and Irrfan Khan play the modern-day Macbeths in Maqbool) and Talvar appears as the production of friends who just happen to be Indian cinema aristocrats. I thought at first that this was a real ‘independent production’ because none of the major Indian (or Hollywood) media corporations was involved. Then I discovered that Junglee Films is actually the new ‘movie arm’ of the Times of India Group – which describes itself as “India’s biggest media corporation”, owning mainly print and broadcasting brands. This makes it surprising that the film has not so far been released in the UK and Junglee Films seeks to make films for ‘the diaspora market’ as well as the Indian film market. (See press notes.)
Talvar is what used to be known in Hollywood as a “torn from the headlines film”. In fact it is the fourth attempt to create a narrative inspired by a double murder case in Northern India in 2008. (See this Wikipedia page.) The story involves a dentist’s household in a ‘colony’ in the city of Noida – a modern planned city in the ‘Capital City Region’ of Delhi, known for its wealthy residents. When the cleaner comes in the early morning she finds the door locked and when she gets in she is faced with the distressed parents Ramesh (Neeraj Kabi) and Nutan (Konkona Sen Sharma) who have seemingly just discovered the body of their 14 year-old daughter lying on her bed with her throat cut. The police are called and an investigation begins – but it is not until some time later that a second body, the male household servant, is found on the roof terrace. The film then proceeds with what is often now referred to as a ‘Rashomon approach’ following Kurosawa Akira’s famous film in which the same incident is viewed from the several different perspectives of the characters involved.
The first investigation by the Uttar Pradesh Police is clumsy with evidence not collected, lost or damaged and a second investigation is ordered by the Central Bureau of Investigation. This team is led by Ashwin Kumar (Irrfan Kahn) a brilliant detective with some odd habits. His investigation offers a different suggestion as to who is guilty but he is then taken off the case and a second CBI team with another rather odd detective takes over and produces a third version of what actually happened. Finally, the new CBI Chief tries to make sense of what the three investigations have achieved before a judge takes over and prosecutes the parents.
The film is 132 minutes long – about standard for a Hollywood procedural with a similar plot. I did notice a point in the narrative where an ‘Intermission’ might have been placed for the Indian release. The film does use songs, but in the Western mode such as playing over a montage and not in the Bollywood manner, effectively pausing and reflecting on the narrative with choreographed dance moves. The film also has more of a sense of an ensemble cast, so that the stars are not constantly on screen. The question is whether Irrfan Khan’s star status (and undoubted on-screen charisma) means that we believe his character’s version of the events of the murder more than we do the others. This is important because the audience (in India at least) knows that the parents are in prison.
It isn’t difficult to see why the film has created so much interest in India. As well as the intriguing puzzle of a version of the old ‘locked room’ murder case, the film offers a form of commentary on several aspects of contemporary Indian society. The Indian police have a very bad reputation for brutal treatment of suspects, the senior officers and government officials are depicted as covering for each other as part of a club culture and the perennial question of Indian bureaucracy comes up in relation to evidence. A more specific discourse here deals with a Nepalese migrant community in North India where suspicion of minorities from the North and East appears rife (the dead house servant is Nepalese). And in all of this the divorce of Ashwin and Reema (Irrfan Khan and Tabu) seems particularly poignant. I have seen stories which involve campaigns to investigate murders and seek redress and I’ve seen films which depict legal procedures in India but I don’t think I’ve seen a detailed police procedural before and not one that involves family relationships in this way. The media coverage/intrusion seems almost lost in the midst of everything else. It’s almost as if there is too much to fit in and I would like to see the film again to fully understand how it works. I’m sure, however, that this is a very important film and I hope a UK distributor decides to pick it up.
The Romanian ‘New Wave’ which started to have a major impact on the festival circuit in 2004 has been one of the strengths of the Leeds Film Festival for several years and this was evident in the healthy audience for an afternoon screening in this year’s festival. Unfortunately it’s one of the recent film movements that I haven’t really caught up with (the unwatched DVDs are on my shelves waiting for my attention – lack of time rather than interest). As a result perhaps, I was not alert enough to spot the crucial significance of a scene early in the film and the result was that I felt slightly cheated and frustrated at the end. The fault is mine, not the film’s.
Radu Muntean is a central figure in the New Wave and this, his fifth feature, was shown at Cannes this year in the Un certain regard strand. The central character is Patrascu (Teodor Corban, an actor associated with New Wave films). Muntean presents to us the daily incidents of Patrascu’s life – taking his dog Jerry for exercise in the park, squabbling with his young teenage son who is obsessed with videogames and Facebook and then doing his job. Patrascu and his wife run a small business which provides a service to iron out the tedium and bureaucracy involved in registering motor vehicles in Romania. It took me a while to work this out since the first job appeared to involve a film production company. The important narrative incident occurs when Parascu hears shouts and bangs in the apartment below in his block. He stops to listen but then decides it’s not his business. Later it transpires that a young woman has died in the apartment. Questioned by the police, Patrascu says nothing. We presume that in Romania the legacy of Ceaușescu’s brutal repression is such that 25 years later middle-aged people like Patrescu are still careful about what they say. The bureaucracy that provides Patrescu with a living must be part of this legacy as well – as is the network of contacts that he methodically maintains. He can queue-jump on behalf of his clients mainly because of these contacts. At other times though Patrescu shows himself to be an ‘ethical man’, e.g. in his support of the girl who has died when others start to repeat gossip about her.
The narrative moves into its final phase when a young neighbour asks Patrascu to re-register his vehicle and then wheedles his way into Patrascu’s household, befriending his wife and son – offering them advice on a new computer etc. You can probably work out what eventually happens – it was because I didn’t recognise who this neighbour was that I literally ‘lost the plot’ at this point. When I realised what was happening I felt rather stupid. It occurs to me that this film has some similarities to Nuri Bilge Ceylan’s Once Upon a Time in Anatolia and that film’s mix of a police procedural and a drama about relationships in families and communities. One Floor Below doesn’t approach the epic scope and narrative complexity of Ceylan’s work, but its focus on ‘smaller’ stories is just as valid and I should have got more from this than I did. Reading other comments on the film, however, I see that I was not alone in missing aspects of the narrative and that’s going to be a risk in making films like this.