Zwei Freundinnen

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.

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.

If you are looking for action, erotic or otherwise, this is not a film you will enjoy.

It is a simple pleasure of color and emotion.

The plot is simple: A rich woman (Stéphane Audran - Babette's Feast, The Discreet Charm of the Bourgeoisie) takes a liking to a poor young girl (Jacqueline Sassard). A man (Jean-Louis Trintignant - Z, Red) enters the picture, and friction results. That's it.

But, don't let the simplicity fool you. There is an elegant dance among the characters as emotional games are played. It is the dance amid the beauty of St. Tropez that is the pleasure.

Many films uses the "Menage a Trois" element to cause disturbances in the relationship between three people. "Les Biches" uses this device to completely destroy its three characters. A perfect psychological film, "Les Biches" is the ONLY film that I know where it doesn't use Menage a Trois as a facade, but allows the film to explore its themes of Jealousy and Obsession to a sensual and extremely disturbing effect. Not even Truffaut's "Jules and Jim" used the device to this extent. This film is suited for people who loves to watch movies that will make us think, rather than movies that tells us what to think. Truly a hypnotic character study on physical and spiritual obsession. Kudos to Chabrol, his lovely wife Stephane Aubran, cinematographer Jean Rabier, and the sensuous Jacqueline Sassard for their specific roles in creating a chilling masterpiece.

'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.