Der Preis der Versuchung

I came into this not knowing what to expect but some kind of love story. Though it started off slow and continued to spectacularly fail the Bechdel test, it grew strongly into a curiously entertaining romp, aided by an almost pantomime score. The best part was that it could be viewed as a light comedy, but should the viewer deign to scratch the surface, they would notice the bitter pill under the sugar coating. The movie alludes to a number of human themes, mostly around forgiveness and redemption, and for the discerning viewer there is a lot more to enjoy than at first might meet the eye

I never write reviews, but I wanted to read one before watching and could not find one so here it is!

So many lines of this script hit me... This film is not only wonderfully written, but the acting is exquisite. The actors do a really nice job of using their expression to relay subtext which makes the movie a more full experience. Alice Isaaz is particularly emotive (in the best way). The ending will leave you satisfied without being too painfully cliche.

Madame de La Pommeraye, a young widow withdrawn from the world, gives in to the court of the Marquis des Arcis, a notorious libertine. After a few years of unfailing happiness, she discovers that the marquis has grown weary of their union. Madly in love and terribly wounded, she decides to take revenge on him with the complicity of Mademoiselle de Joncquières and her mother...

Light, sometimes too light, Emmanuel Mouret ("Let Lucie do it", "Un Baiser, s'il vous plaît") long favored (if not followed the easy route) of burlesque marivaudage. When he tried his hand at pure melodrama ("Une autre vie"), he was not really convincing. But with "Mademoiselle de Joncquières ", he seems to have found the ideal formula, namely sprinkling lightness on an underlying layer of gravity and cruelty. Diderot (from whom he here adapts an episode of "Jacques le fataliste") and the 18th century undoubtedly inspire him: subtle dialogues, deep but never sententious considerations, superb costumes, natural and interior settings. Ans his actors as well : Cécile de France, elegant and acidulous, and Édouard Baer, deceitfully languid and detached, are the perfect embodiment of this couple living what I would call their "well-mannered passion": they excel in a double game, all the more fascinating as it remains unexpressed verbally. It looks as if they wear velvet gloves with hidden points. Alongside them, two other performers shine, Alice Isaaz, as the candid and virginal Mademoiselle de Joncquières and the vivacious Laure Calamy playing a rather perfidious friend of Madame de la Pommeraye. Note that the subject had already been treated by Robert Bresson in "Les Dames du Bois de Boulogne", in a very different style.

Mademoiselle de Joncquières is a sumptuous costume drama of court intrigue, revenge, and moral turpitude is what I hoped for, and that is what I got. Anyone who ever saw 'Dangerous liaisons' back in the day will be familiar with this sort of tale, but what this movie lacks in glamour compared with that film is more than makes up for in elegant taste and style. For a good while now, I have despaired of the French film industries lurch towards populist trite sentiment and away from its reputation for sophisticated thought-provoking artistic films. This then is an echo of past glories, and just maybe it will provoke a rethink, although, sadly, I doubt it. The plot is taken from a classic French novel and concerns a Count who has taken to hanging around the country mansion of a wealthy Duchess with a determination to have her succumb to his charms. Eventually she does. However, instead of revelling in his conquest, our Count wearies of her and her weakness, seeing as she was fully aware of his reputation as a bed-hopper. He is up front about his mood and they agree end the relationship but to remain friends. Meanwhile, deep inside she is livid, as well as heartbroken, and so decides to play a cruel revenge on him by tricking him into desiring a supposedly chaste young woman, who actually turns out to be anything but. We can see the plot unfolding, and, despite the count being a likeable rogue, we are happy to see him fall into her trap. However, the Duchess, and us, are in for more surprise than we expected. The acting here is a delight; Very understated, and done with a joyous relish.The dialogue is witty and sophisticated but never for the sake of it. We, as audience, understand the vagaries of our own passions and the contradictions of love, rivalry, pride, and vanity, so there is nothing here a normal viewer could not grasp. I love that about this film. It doesn't spoon-feed but neither does it become esoteric. As for the filming.. well, in contrast to the recent costume drama 'The Favourite' this does not indulge in fancy camera angles and showy updates of the genre. Instead it plays the filming straight and the movie benefits from its unobtrusiveness. The only night scene is while the Count is wrestling with the knowledge that he has been duped and that others have been wantonly used to play the trick out. This seems like a simple tonal device but movie-making does not have to be reinvented; It is best served when that just feels like a natural feature. Why re-invent the wheel (?) At the Sunday morning screening I attended there were only seven of us present. This was a shame I felt. I contrasted this with the full house for the latest Tarantino which (despite possessing a swagger of movie chutzpah) is devoid of subtlety, resonance, and emotional depth, and the Dutch film De Dirigent which the local audience loved but was in effect a Mickey Mouse movie compared to this delightfully crafted French delicacy.

Lady J was such a great surprise for me to see. I was not expecting to like this movie and I had not heard of it before streaming it on Netflix, but I loved it. This movie was filled with beautiful, over-the-top, ornate sets and costume design, with intricacies that made almost every scene fit to be painted. It also had a great soundtrack that fit the genre but was not boring. My favorite feature of Lady J was how the likability of the characters changed throughout the movie. The screenwriting and directing, of course, accomplished that, but I also saw difference in the slight mannerisms of the actors that changed with their likability changes. Since I cannot understand the spoken language, the non-verbals were very important for my understanding of the characters. Each main character was both good and bad and most acts are framed as both good and bad. My perception of who was the hero/villain, who was as the protagonist/antagonist, flawlessly ebbed between the characters and themes. Most of the characters are likable at some point, and all have some good personality traits, but throughout the movie almost all of them do morally wrong, or downright creepy or cruel, things. There seems to be something in Lady J for everyone- it's beautiful to view, fun to hear the French language and musical score, filled with compelling and realistic characters (albeit rushed in terms of character development), and overflowing with meaningful themes about societal themes and interpersonal relationships. Lady J seemed to embrace and push past the cliches of its genre to touch on human nature, the complexities of relationships, and the inherent tensions and corruptions resulting from inequality (sex, age, financial, influence, religion) and self-centeredness (delusion, self-aggrandizement, callousness, vigilante justice, lack of introspection, pride). I'm not sure how those who made this movie managed to do so, but this movie left me with renewed belief in humanity. The value of connection to other people and society and of connection to a transcendent sense of morality, justice, and emotion across humankind reveals itself throughout the movie through the failures of the characters to connect and the messy process that results from the lack of true connection to each other and humankind.

The ending is a good one, depending on which character you ask!