Zwei Freundinnen

In Paris, while crossing a bridge over the Seine, the bored bisexual millionaire Frédérique (Stéphane Audran) meets the homeless young street painter Why (Jacqueline Sassard) and invites her to drink tea at her apartment. They have a love affair and Frédérique brings the virgin Why to spend winter in her house in Saint Tropez, where two weird gay friends of her live. When Frédérique gives a party for a few guests, the handsome architect Paul Thomas (Jean-Louis Trintignant) hits on Why. She is seduced by Paul and spends the night with him in his place. On the next day, the selfish Frédérique visits Paul and seduces him. They travel together to Paris and when they return, Frédérique tells Why that Paul is going to live with them in her house. Why is disturbed and she secretly poses like Frédérique unsuccessfully trying to seduce Paul. One night, Why proposes them to get drunken expecting to go to their room and have a threesome, but she is unwanted by the couple. When Frédérique and Paul travel to Paris for an urgent business, the deranged Why follows them expecting to stay in Frédérique's apartment. But when she is rejected by the socialite, tragedy is announced.

"Les Biches" is a sensual and sexy thriller divided in four parts ("Prologue"; "Frédérique"; "Why"; and "Epilogue") and ahead of time for a 1968 film, dealing with themes like bisexualism and homosexualism in subtle situations. The romance between Frédérique and Why, for example, is never explicit but it is to be read between the lines through the glances of the socialite to her protégé. Why Frédérique supports her two gay friends is never clear but maybe she finds them amusing with their silliness. Paul Thomas seems to be only interested in Frédérique's money but his character is also not well developed and serves only as a pivot to the tragedy. The open conclusion is left to the interpretation of the viewer and a trademark of Chabrol. My vote is eight.

Title (Brazil): Not Available

Note: On 02 December 2024, I saw this film again.

Although comparisons to Hitchcock are inevitable (and perhaps deserved), Chabrol's best films have an ethereal quality and a unique approach to the storytelling that's all his. In many ways, although coming in the late stages of what is considered by many Chabrol's transitional phase (which I sometimes think is a polite way to say 'Chabrol went daft on us and decided he was a glossy espionage thriller sort'), "Les Biches" is reminiscent of some of Chabrol's early films, including the ones which were key to the development of the French New Wave. There's a lot of that in this film, with its off-kilter approach and unconventional editing, a pleasant surprise coming after the glossy, typical murder-mystery that was "The Champagne Murders". This film fits perfectly with Chabrol the auteur's style, ideology, and storytelling method (focusing heavily on the characters), and it's nice to see him craft such a visually remarkable film after the disappointments that preceded.

Before going further into the visual aspects of the film I'd like to address the script. In short, it's great. It's the sort of thing that could have so easily been a heinously atrocious melodrama or a cheap skin flick (which, as the film involves bisexuality, is unsurprisingly how it was marketed in the US), but is so intelligently-written and well-developed that it works tremendously well. Most importantly, of course, the characters are complex and interesting enough to carry the first half of the film, before the strange relationships between the three main characters come to the forefront and Chabrol relentlessly builds the sexual tension and suspense all the way through to the film's excellent final scene.

The visuals are unquestionably Chabrol. The direction is highly controlled and the camera is rarely still, and even then a zoom is almost expected. With most other directors this would almost feel impatient and unnecessary but Chabrol is always able to use the technique to his advantage, using the motion evocatively and reflecting the nature of the film's events, and this also means that stillness can be used to great effect (as it is in a key scene in around the hour and twenty minute mark). The cinematography by Jean Rabier (Cléo de 5 à 7) is excellent and doubtlessly influenced heavily by Chabrol, who frequently favors muted colors, especially pastels, and understated use of sunlight. The choreography of the camera movement and those in front of the camera is of far more interest than the photography, however, and may even be a nuisance to some viewers as the movement of the characters is often very contrived and even unnatural to create a particular sort of shot composition. These scenes achieve a sort of gracefulness that ultimately works in favor of the film stylistically, but realists and naturalists might be upset.

"Les Biches" is one of Chabrol's better sixties films, a taut, suspenseful drama that should be approached without any specific expectations of genre or style. The characters carry the film, and Chabrol's stylish but sophisticated direction keeps the film involving and gripping, allowing the viewer a rare bit of comfort now and then before raising the tension again.

9/10

With "les biches" ,Chabrol entered his second and most fruitful period:the first one encompassed such classics as "les cousins" and "à double tour" but his formula began to wear thin in the mid -sixties with failures like "l'oeil du malin" "Marie-Chantal contre le docteur Kah" and the abysmal "le scandale".

Stephane Audran ,his then-wife starred in all these movies (roughly 1968-1973)bar two ("la decade prodigieuse" and "docteur popaul") and their spellbinding mysterious atmosphere owes a lot to her.

"Les biches " has not worn that much well though:at the time ,lesbians were not so common in the movies ,and of course they always had a bad end -see also Mark Rydell's "the fox" or William Wyler's "the children's hour"for that matter-.What remains today is not much :only the scene showing Jacqueline Sassard's trying to become the woman she loves by taking her clothes ,her jewels ,her make-up and her voice is still impressive today;what remains falls into the trap of triteness:the man who comes between the two girls ,the chic bourgeois life in Saint-Tropez under the snow,the two would be comic reliefs -who are not funny at all-....

"Les biches" is a must for Chabrol 's fans because it inaugurates his golden era ,which would give such classics as "la femme infidèle" or "le boucher".But the others can easily do without it.

The first time I saw this movie I liked it. The second time I thought Ho hum, the third time (OK I am practicing my French and I remembered this as a movie with a pretty clear sound track) I loved it.

It starts slow, a bit weird, but the intensity between the women works as the scene plays out and really starts to cook when they get to St. Tropez, but Frédérique is just too spoiled to know a good thing when she sees it and blows it.

Chabrol shows us just how stupid we can be when we don't know what we are doing, or just how much in love we are and how much stupider we get when jealousy sets in.

Stéphane Audran is just so cold and yet so vulnerable.

This one may get a fourth viewing yet, putting it in league with Chabrol's Le Boucher (One of THE BEST ever) and Casablanca.

'Les Biches', whilst not my favourite Chabrol film ranks among his best. On one level it has sumptuous cinematography on a par with 'Le boucher', another excellent score, courtesy of Pierre Jansen and some very stylish direction. All Chabrol's actors play their parts beautifully although Audran undoubtedly has the best material.

But what marks this film out and what many cannot appear to perceive is that it is not a meditation on class or a portrait of a 'menage a trois'. It does touch on those subjects, as do many of Chabrol's films, but this film is essentially about identity and it's destruction or absorption by another. Stephanie Audran's character is, put simply a VAMPIRE. This is humorously and beautifully established early in the picture when she first meets Sassard's character 'Why' on a bridge in Paris amid a Gothic mist and with Audran looking drained and evidently needing a new victim. Many have commented on Jean-Louis Trintignant's acting, arguing that it is bland or inexpert, failing to realise that as part of the plot he had to be 'consumed' by Audran and had to appear ineffectual. Compare Audran's extraordinarily vital, near superhuman character in 'Les Biches' to her purposefully meek character in 'La Rupture' and one can begin to see what a subtle and intelligent actress she is.

On first viewing 'Les Biches' some years ago I was mystified and like other reviewers irritated by the two scroungers Robegue and Riais. After further viewing it appears they are purposefully antagonistic and their apparently parasitic relationship points to them being Audran's familiars.

The raison d'etre of the film are the final sequences in which 'Why' ultimately escapes the fate of Paul and destroys Frederique by becoming her. So 'Les Biches' is essentially a nuanced and very stylised commentary on identity and it's struggle to coexist within a relationship.