I’d heard mixed reports about this film. I’ve seen some but not all of the François Ozon films released in the UK and the last two I saw, Potiche (2010) and Dans la maison (2012), were a hoot. This new film promised something rather different, being adapted from a Ruth Rendell short story. Perhaps it is a cliché but ‘continental’ adaptations of Ruth Rendell often seem much more serious/sophisticated than UK adaptations. I still remember with pleasure Almodovar’s Live Flesh (Spain 1997), Chabrol’s La Cérémonie (France 1995) and Claude Miller’s Betty Fisher and Other Stories (France 2001) – and there are more I haven’t seen.
The promotion of this film seems quite coy in the way it tries to avoid ‘spoilers‘ but to say anything sensible about the film I have to reveal the central issue. (So be warned, if you want complete surprise, DON’T READ ON.) The film begins with a stunning opening sequence, virtually without dialogue, in which we see the funeral of a young woman, Laure, and the eulogy from her best friend Claire (Anaïs Demoustier) who pledges to look out for the widowed David (Romain Duris) and the couple’s daughter Lucie who is only a few months old. The opening also gives us flashbacks to the intense relationship between Claire and Laure that began when they were small children. A few weeks after the funeral Claire visits David and is taken aback to find him dressed as a woman and feeding the baby from a bottle. He explains that by wearing a dress belonging to his wife, he is able to calm the baby. The narrative then begins to explore the relationship between Claire and David – and to deal with the complication of Claire’s husband Gilles. Things don’t quite work out as some audiences might suspect and I’ll leave it there.
Like Pedro Almodóvar, Ozon is a gay man adapting a female novelist who was herself prepared to explore all kinds of characters and relationships. Ruth Rendell is generally thought of as a crime writer but she also explored the psychology of unusual relationships. I wasn’t familiar with the short story ‘The New Girlfriend’ but I’m certainly interested in finding it now. The narrative that Ozon constructs sometimes plays like Hitchcock (especially when the score by Philippe Rombi kicks in). I’ve also seen reviews that reference Douglas Sirk. This is certainly a melodrama and it takes place in the milieu of the upper middle class. All That Heaven Allows (1955) feels like an appropriate reference. At other times the tone is comic and I also found the film to be intensely erotic in parts.
Visiting IMDB, I note both big supporters and major detractors. Two ‘users’ claim this is the worst film they’ve ever seen. I’ll put my cards on the table. I loved every minute of the film. Romain Duris is for me a major star of French cinema. I realise now that I have seen Anaïs Demoustier in several other films but up until now I hadn’t really ‘noticed’ her. Now I feel foolishly in love. What is interesting is that the film places her almost in the masculine role – she’s ‘on top’ in sexual encounters and she generally wears the trousers when David is in drag. Personally I preferred her this way – or at least with her freckles on display when ‘Virginia’ (David) is in full warpaint. You’ll gather from this that Ozon is ‘playing’ with gender identities big time. Sometimes his storytelling teeters on the edge of farce but he is in control and he’s well served by great performances from the three lead actors.
Nuff said. This is a melodrama par excellence.
A good trailer: