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

Tuesday, December 29, 2015

Masques (Claude Chabrol, 1987)

Masques shares the style (and the one-word title) of those 1960s romantic thrillers like Charade (Stanley Donen, 1963), Arabesque (Stanley Donen, 1966), and Kaleidoscope (Jack Smight, 1966) that inevitably got called "Hitchcockian." So it's not surprising that Chabrol, who recognized Hitchcock's genius when Hollywood still thought of him as just a popular entertainer, should cast an hommage to the director in their manner. Roland Wolf (Robin Renucci) is writing a biography of Christian Legagneur (Philippe Noiret), who hosts a cheesy TV talent/game show featuring senior citizens, so he comes to spend a week at Legagneur's estate near Paris. There he's introduced to a houseful of eccentrics: Legagneur's mute chauffeur/cook, Max (Pierre-François Dumeniaud); his secretary, Colette (Monique Chaumette); and a couple, Manu (Roger Dumas), a wine connoisseur who is helping stock Legagneur's cellar, and his wife (or perhaps mistress), who is a masseuse and reads tarot cards (Bernadette Lafont). (Lafont gets third billing after Noiret and Renucci, though hers is decided a secondary role, perhaps because she appeared in Chabrol's first film, Le Beau Serge, in 1958, and worked with him again several times during their long careers.) But most intriguing of all to Wolf is Legagneur's pretty young goddaughter, Catherine (Anne Brochet), who Wolf is told is recovering from a serious illness and is quite fragile. It's clear to the audience from Catherine's erratic behavior that she's drugged -- whether as part of her therapy or not is the question raised in Wolf's mind. For no one in this household is exactly what they seem, least of all Wolf, who, when he's alone in his room, removes a gun from his shaving kit and hides it on a shelf. On the shelf he finds a lipstick and with it, murmuring "Madeleine," he writes a large "M" on a mirror, then rubs it out. Madeleine, we will learn, is Wolf's sister, who is said to have quarreled with Catherine and then left on a trip to the Seychelles, which Wolf seriously doubts. Madeleine is also, of course, the name of the character played by Kim Novak in Hitchcock's Vertigo (1958), one of several "Easter eggs" for Hitchcockians left by Chabrol in the film. Legagneur's TV show, for another example, uses as theme music Gounod's "Funeral March for a Marionette," which was the theme music for Hitchcock's own TV show. Masques failed to find an American distributor when it was first released, but is now available on video. It's definitely minor Chabrol, but Noiret is terrific as the affably sinister Legagneur.

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