Die Enttäuschten

This is such a low key film, watched today, especially considering its importance in world cinema, being Claude Chabrol's first film and the film that is considered to have set off the Nouvelle Vague. It seems especially ordinary when compared to Godard's A Bout De Soufflé and Vivre Sa Vie, but then these were from 1960 and 1962, two and four years after this breakthrough film. Although this film is not city set and street wise, still harbouring melodrama and some theatricality it is not set bound, is made entirely within the village using the inhabitants within the drama and contains some bold camera-work, including long tracking shots and dynamic close-ups. It is also about the people we are introduced to, there is no historic event being reconstructed or alluded to, this is the here and now. Jean-Claude Braly plays Francois, the young man returning to the village after 12 years apparently a wiser man and Gerard Blain plays his old chum Serge who he feels could have done better for himself. Some great snow scenes at the end round off a thoughtful and involving piece.

In what is considered the first film of the French New Wave, Claude Chabrol gives us a hypnotic vision of opposites in the same style as Hitchcock's Shadow of a Doubt. Le Beau Serge follows the story of Francois, a young man who returns to his home town after twelve years, who finds that the town is dying. His landlady even tells him that everyone will be gone soon enough. In particular, he finds that a once-promising childhood friend, Serge, is trapped as an alcoholic in a loveless marriage.

The brilliance of the film lies not in its storytelling (it is quite slow at parts) nor its acting (most of the actors were non-professionals) but in its structure. Everything is seen in doubles. Francois and Serge are two sides to the same coin. Each has an elder counterpart. Each has a female relation which seems to switch off at times. Serge has both a wife and a mistress who is at one point Francois girlfriend; at the same time, Serge's wife becomes morally attached to Francois. In addition, scenes are doubled; two scenes in the cemetary, two implied sexual scenes in Glomaud's home, two turns by Francois and Michel at the beginning, the list goes on and on. Furthermore, entire shots are doubled with different couples in each. It is brilliant.

In addition, the film looks as if it were unpolished (which is a basic tenet of the New Wave), but it looks as if it was a director's first attempt. But that's not necessarily a bad thing.

The greatest detraction (apart from the sometimes overacting) is the musical score. It is extremely discordant with regards to the movie. Minimal scenes such as Serge exiting his house are accompanies by percussion that sounds as if it were a harbinger of doom. I don't know if Chabrol wanted this, but it becomes irritating and causes the viewer to laugh at the film.

As an added note, watch for the parallels of Francois and Serge with the town's children. The kids pop up everywhere.

Suffering from a bronchial infection, Jean-Claude Brialy, a young Parisian, seeks convalescence in his home village in the Creuse, where he hasn't set foot for 10 years. There he meets up with his former friend, Gerard Blain, who, despite a brilliant adolescence and a bright future, has ended up in a drunken stupor after his marriage. The first film by Claude Chabrol, who launched the New Wave with this bitter account of rural life, perfectly constructed, and served with the talent of Jean-Claude Brialy and Bernadette Laffont.

The film that officially kick-started the "Nouvelle Vague" (interestingly, Chabrol was the only one in that talented crowd to have debuted with a full-length feature and self-financed to boot!) is, surprisingly, an "Angry Young Man"-type drama in a pastoral setting. The radical technique associated with this school of film-making is not really in evidence in this case, but nor is it needed – given that what we have here is essentially a character-driven piece.

In this respect, apart from the director himself (who also wrote the film on his own), the film brought in an array of fresh talent in front of the cameras as well – namely Gerard Blain (evoking Montgomery Clift in particular), Jean-Claude Brialy (restrained in comparison to his other work for Chabrol that I have watched) and the waif-like Bernadette Lafont (already effortlessly exuding carnality in her second film – and the first of 7 with this director – she was also married to her co-star Blain at the time).

Chabrol's realistic depiction of provincial France here, authentic both in the everyday detail of the locale and its characters' foibles (Blain is a hopeless drunk, Lafont is raped by her 'father', etc.), actually makes the much-later THE HORSE OF PRIDE (1980) not the odd-film-out it had at first appeared! One other atypical element is that of spirituality – especially when, towards the end, Brialy determines (albeit predictably) to reform Blain almost at the cost of his own life during one particularly blizzard-ridden night in which his friend is supposed to become a father!

By the way, Chabrol gives himself a cameo in the film: with him appears assistant director Philippe de Broca (whose character is named Jacques Rivette, after another "New Wave" exponent, obviously!); unfortunately, the subtitles – in a small white font – were especially hard to read during this scene.

Excellent film, does anyone else see similarities to Cat on a hot tin roof, and a number of southern Gothic references.....I read more than I probably should, sham loveless marriage , first child conceived by perve father, Francois and Serge maybe shared more than society would allow, Village priest, hmmm.Beautifully shot and so poetic, Chabrol's most sincere and honest.. just saying....Strong characters that have a grand noble purpose. Not at all apologetic and a testament to faith and hope in a futile, provincial and incestuous post war Europe. You feel their hunger and desperation. So revealing a film, yet it left so much unanswered. Post war French cinema is timeless and classic.