Just One Look is a French TV serial from TF1 featuring Virginie Ledoyen, an actor with a long history of parts in film and TV since appearing as a child back in 1986. I saw her earlier this year in a revival of Ma 6-T va crack-er (France 1997). Just One Look is available to stream as a ‘Walter Presents’ offering on All 4. I decided to start watching unaware of the original property that was adapted for this production. It wasn’t long before I started thinking about the big-budget and very successful French thriller, Tell No One (Ne le dis à personne, France 2006). The narratives seemed similar.
In the earlier film a man who whose wife was murdered several years earlier suddenly finds himself a suspect because two more bodies have been found close to the murder site. The accused man goes on the run and then receives a message that suggests his wife is still alive. In this more recent narrative, Eva’s husband Bastien goes missing from a hotel where he has taken their two small children after a pop concert. Eva then discovers a photograph of a group of younger people in a bar several years earlier. One of them is Bastien and one is a woman with her face scratched out. As a younger woman, before she met Bastien, Eva had a frightening experience at a rock concert – which is why she didn’t accompany her husband and children this time. She has tried to forget the concert which ended with her in hospital but the photograph and her husband’s disappearance makes Eva worried about the safety of her children.
As well as some similarities between the two narratives, there is also something about the new narrative, with its fast action and overall pacing, which reminds me of the close links between French and American crime fiction. I’m sure you are ahead of me here – I finally confirmed that the two narratives were both adapted from stories by the American crime thriller and mystery writer Harlan Coben. Coben was also involved earlier with a similar French TV serial Une chance de trop (No Second Chance, 2015) as writer and executive producer. No Second Chance is also on All 4. He has also written three other British and French-based long-form narratives. He seems to be operating on Just One Look as a ‘showrunner’ with a team of French writers.
Just One Look is a complex narrative with an array of characters but one of the interesting lead roles is a contract killer played by Jimmy Jean-Louis who is supposed to have grown up in Haiti and who carries the name Eric Toussaint. He’s the only Black character of note in the serial – which distinguishes it from the police procedurals and banlieue dramas set in Paris. (The co-writer/producer Sydney Gallonde is Black and the character is changed from the novel – a conscious attempt to diversify casting?) I think we are meant to be in the next ‘outer ring’ of more affluent areas outside Paris, though the story takes us into Montmartre a couple of times. The carousel in a square close to Sacré-Couer is a favourite place for Eva’s small son Max who is on the autistic spectrum. This is useful in plot terms because Max is both quite difficult to keep safe but also a dab hand at remembering car number plates. His slightly older sister, Salome, is very bright as well.
So, what to make of this? Coben appears to have taken his familiar narrative model and switched gender roles – the man goes missing, the woman has to become investigator. The police in charge of the investigation are women. It seems to tick all the right boxes – except that the police in this case seem to be completely inept. As several viewers have pointed out, Salome seems capable of finding useful leads on Google well ahead of the police and the team from Engrenages (Spiral) headed by Laure and Gilou could have solved this case by Episode 3 (Just One Look has 6 x 50 minute episodes). My guess is that Coben is the problem here. I found that the plot became repetitive and although it had some interesting twists, it lacked sufficient credibility to make the final resolution as satisfying as the writers presumably hoped it would be. Those French films that have taken American influences and re-worked them to create the polar in French cinema have often created a relationship between a police investigator and a lead criminal that holds the whole narrative together. Coben’s narratives work in a different way. I haven’t read the the original, but from extracts available online, I can guess some of the problems they faced. I think that the narrative would work better if the hit man Eric and the wife/mother Eva were more directly in a prolonged confrontation. The story needs stripping back and re-working more in the French tradition. Virginie Ledoyen and Jimmy Jean-Louis are strong performers in roles with potential that is not realised from my perspective.
I realise that I have fallen into the trap of focusing only on the writers/producers of a TV long-form narrative. The serial was directed by Ludovic Colbeau-Justin as just his third directorial project. (He was previously a cinematographer but directed the previous Coben adaptation No Second Chance.)
If I remember correctly, and this is from memory I am afraid, Jimmy Jean-Louis was a recurring character in USA superhero soap-opera Heroes He appeared as a character simply known as The Haitian whose power was to make members of the superhero community ‘forget’ their powers. Unless he has used it on me. Still a Haitian now it seems.
You are correct, John. IMDb lists an earlier credit in Heroes Reborn (2015-16). The actor is also from Haiti, arriving in Paris in 1980, aged 12.
I realise that this may be off-topic for a blog that discusses the respective merits of films old and new and the aspect ratio of same, but given the parlous times for modern cinema, were you planning to discuss the diminishing prospects for our hobby with your audience, Roy ? I went to Showcase last week to see The Invisible Man, but given the impending facemask rules I might see Proxima at Everyman this week before I consider myself in cinema lockdown again. Just wondering how many people feel the same about what they are trying to sell to us as ‘the new normal’. New film ‘Make Up’ was reviewed this week. Sounds great – if you want to catch it on Curzon Home Setvices, which I don’t. I have been going to the cinema all my life and hadn’t really planned to curtail that hobby this year, but then I hadn’t really planned to stop swimming either. If the new normal is to sit in a darkened auditorium for two hours in a facemask, then from where I sit the cinemas might as well shut their doors and keep them shut.
John, I feel your pain. I have no intention of going to a cinema until at least September and none of the cinemas I would usually visit are open yet anyway. When they do open, I will think twice about visiting if I have to wear a mask. I would like to see new films on a big screen but if it isn’t possible or it is uncomfortable/unsafe to do so, there are many thousands to watch on small screens and I can live with that for the moment. I’m also discovering that film history is something worthwhile to explore in much more depth than I was able to envisage before COVID.