A movie log formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Sunday, December 27, 2015

Le Beau Serge (Claude Chabrol, 1958)

Le Beau Serge has been called the first film of the French New Wave because it was made before the first features by Claude Chabrol's fellow Cahiers du Cinéma critics, François Truffaut's The 400 Blows (1959) and Jean-Luc Godard's Breathless (1960). The two later films were bigger successes internationally, but the influence of Chabrol's debut on the look, the narrative, and the technique of film continued to be felt, and his next movie, Les Cousins (1959), established Chabrol's reputation. Like Truffaut and Godard, who made international stars of Jean-Pierre Léaud and Jean-Paul Belmondo with their features, Chabrol launched the careers of Gérard Blain and Jean-Claude Brialy, who appeared in his first two films. In Le Beau Serge, Blain plays the title role, a young man who, by staying in his provincial village (Chabrol's own home town of Sardent), becomes an alcoholic layabout, trapped in an unhappy marriage. Brialy plays François, an old friend of Serge's, who left Sardent and became a success, but now returns home after a long absence to recuperate from a lung ailment. The roles are striking in both the similarity to and the differences from the ones Blain and Brialy play in Les Cousins, which takes place in Paris, where Blain is the strait-laced provincial and Brialy is his dissipated cousin. Le Beau Serge follows François's somewhat misguided attempt to help Serge clean up his life, which is complicated when François begins an affair with Serge's sister-in-law, Marie (Bernadette Lafont). In the climax of the film, Serge's wife, Yvonne (Michèle Méritz), goes into labor with the child everyone in the village expects to be deformed or stillborn, as their first child was. In a howling snowstorm, François takes it on himself to go in search of the village's doctor, and then looks for Serge, who is sleeping off a drunk in a chicken coop. The concluding scene, of Serge convulsed in hysterical laughter, is profoundly ambiguous. Chabrol's use of the actual village of Sardent, including many of its townspeople as actors, is brilliantly done, greatly aided by Henri Decaë's cinematography. Les Cousins is a more sophisticated and satisfying film, but it really has to be seen in tandem with Le Beau Serge. Both actors are terrific, but Blain attracted more attention because of his supposed resemblance in both looks and style to James Dean, though to my mind he recalls Montgomery Clift more than Dean.

No comments: