Ein Kuss von Beatrice

Frot and Deneuve are magical together. The acting is sublime.

I really enjoyed this movie; in part as it starred my favorite actress from 2016: Catherine Frot, and her exquisite performance as 'Marguerite'. Frot has such stillness and poise on screen, but can also command great presence with minimal effort. Here, as the titular 'Midwife, Catherine Frot is delivered a role that gives her a chance to really shine. From the opening scenes her 'Claire' is a good woman; a skilled professional but lacking a personal life or much hope it seems. Blessed with a son she only sees fleetingly, her life is turned upside down when Beatrice played by Catherine Deneuve re-enters her radius after vanishing more than 3 decades before and causing Claire's father (one time lover of Beatrice) irreparable damage and an indelible imprint for young Claire. It is a fascinating dance that these two characters create through their often awkward scenes together.

The film is only a success because of the chemistry between these two marvellous actresses. The narrative ambles all over the place, messily edited and at times a little predictable, but seeing these two share the screen is pure magic, and compensates for where the film is otherwise lacking. Beneath the choppy script lies some rich fabric about life and death; life changes and the power of forgiveness and redemption: always soulful pursuits for the big screen. I wanted this to be perfection; of course it is not. Catherine Deneuve deserves an Oscar nomination for this; she is unafraid to show her age; her flaws and creates a memorable screen character, a former good time gal, whose life is slipping away from her, as she clings to the joie devivre that had sustained her. It is a privilege to watch a screen icon; still beautiful, but displaying how beauty can fade. There is much dignity here from both Catherine the Greats!

This is a life enhancing film, and I cannot even begin to comprehend why it has been called trashy. Catherine Deneuve gives one of her greatest performances, and a mention must be made of Mylene Demongeot. During the one scene she was in she almost stole the film for me. For those who have never heard of her get hold of a copy of ' The Witches of Salem ' with Simone Signoret and Yves Montand. She stole the film back in the 50's and she can still do it now. But it is Deneuve who shows that she has total control of the film in a life affirming role. She wants to live, and live she does to the limit of her joy and her endurance. Anybody who may think this was an easy role to play and succeed is an idiot. She shows herself as she is now and the beauty, the power of presence and the way each gesture and look of the eye advances the film is a miracle of acting. Catherine Frot is excellent and France has yet another powerful actor and I hope she is given equally good roles for a long time to come. Above all I did not find the film distressing. Life is distressing and the film has the strength of will to show that it can be painful from birth until death. But between these two inevitable events of our lives we live, messily, cleanly, hurting people and being hurt. This illusion that Deneuve is a taker and not a giver in the film is simplistic. She needs a lot from others. She shows it and she gives when she can, and watch how through the force of her nature she releases Catherine Frot from a certain primness; makes her smile, lets down her hair. A great film and the title in English may put off many. ' Sage femme ' does mean midwife, but there is still the resonance in the the French title of wisdom and a wisdom life can bring.

I gave this 30 minutes to get going, but there were no signs of anything of interest developing and so early termination seemed both appropriate and ethical.

Perhaps it picks up pace later on, but I just didn't care what happened to either of the two principal characters. (I actually had a sense of deja vu while watching this: perhaps it's that Catherine Deneuve has played several similar characters in this latter part of her career?)

Viewed at the 2017 Berlin Film festival. MIDWIFE -- (Sage Femme) with Catherine Deneuve (73) and Catherine Frot. The second film of the day at the lavish Zoo Palace venue, was "Sage-Femme" which does not mean "Wise woman" but is the French term for a midwife. Catherine Frot, (born 1956) is the attractive somewhat older woman Claire (she has a grown son) who is a dedicated professional deliverer of babies (we see a number of such deliveries in bloody stomach churning closeups of new borns) but this is not the main story. It turns out that Claire is the resentful daughter of a wayward mother who left home thirty years earlier, Catherine Deneuve. Once Deneuve (still looking good at 73) enters the picture the story becomes a battle of wills between two strong women but when we find that Deneuve is suffering from a terminal brain cancer daughter Claire, until now full of resentment and anger, relents and takes her in.

Claire is a health food advocate and Deneuve just the opposite. She loves her red meat and wine even if it will kill her. There is a side story involving a single unattractive middle aged truck driver who falls in love with Claire and she more or less out of loneliness accepts his advances. But this is excess baggage only there to advance the basic plot between the two intense Catherines. Many little details such as a valuable family ring enter into the story but at the end, Deneuve, rather than continuing to be a burden on Claire literally jumps in the lake (a pond near the vegetable garden Claire maintains) leaving a most touching Farewell note, bearing only an imprint of her lipstick and the ring that has kept changing fingers. This is a very strong thespian pas-de-deux, directed by Martin Provost, and is another strong contender for a best acress bear -- and a best co-star prize, if there was such an award, for Deneuve.

image1.jpegThe Two Catherines, Deneueve and Frot, in "Sage-Femme"