Die Brautjungfer

In Lille, the hairdresser Christine (Aurore Clément) has raised her son and two daughters alone. Philippe Tardieu (Benoît Magimel), who works in a renovation company; Sophie Tardieu (Solène Bouton), who is going to marry Jacky (Eric Seigne) in a couple of days; and Patricia Tardieu (Anna Mihalcea),who seems to be using drugs, live with their mother in a middle-class house where Christine works. Now, while a teenager is vanished in the city, Christine invites her son and daughters to meet her boyfriend, the wealthy Gérard Courtois (Bernard Le Coq) that has just divorced and is selling his house. She gives her garden stone head of the goddess of flowers Flora that Philippe adores to Gérard that tells her that he has a business travel to Italy on the next day, but he disappears from Christine's life. In Sophie's wedding, Philippe meets her sexy bridesmaid and Jacky's cousin Stéphanie "Senta" Bellange (Laura Smet) and they have one night stand. Despite the odd behavior of the unstable and apparently imaginative Senta, Philippe immediately falls in love with her and she suggests four weird things to prove their love: planting a tree; writing a poem; having homosexual intercourse; and killing a person. When a homeless beggar is found murdered in the harbor, Philippe decides to fantasize that he had murdered the man to prove his love to Senta. On the next morning, when he wakes-up, Senta tells that she had murdered Gérard to please Philippe and describes her crime in details. Philippe decides to visit Gérard to find the truth about Senta.

"La Demoiselle d'Honneur" is an engaging thriller by Claude Chabrol that slightly recalls Alfred Hitchcock style in "Strangers on a Train". The story has many subplots to divert the viewer and the twists are excellent. This is the first movie that I have seen with the sexy and gorgeous Laura Smet and I loved her performance, in a totally different type of psychopath. Like in other films of this director, the ending is open to interpretation and I believe that Philippe has indeed called the police, but will try to help Senta during her imprisonment. My vote is eight.

Title (Brazil): "A Dama de Honra" ("The Bridesmaid")

Note: On 14 January 2025, I saw this film again.

Just like Patricia Highsmith, Ruth Rendell is a perfect inspiration to Claude Chabrol. Following Patricia Highsmith's example, Ruth Rendell minutely explores the troubled minds of unbalanced characters and the effects of their dangerous conduct on the people they mix with, the latter unaware of their mental imbalance. And what is director Chabrol pet theme? Just that!

This second child of a love match ( "La Demoiselle d'Honneur" is "La Cérémonie"'s younger sister ) is - unsurprisingly - as good as the first product of their encounter.

This time around, two hearts, two bodies are irrepressibly attracted to each other but will the sick mind of one contaminate the other's healthy brain? This is what the story is about and fascination slowly but surely finds its way to the viewer. Indeed Chabrol's talent mainly lies in his ability to make the story shift from the ordinary ( Philippe's family life, his job, the wedding ) to the uncanny ( Senta's odd ideas, the queer characters living in a bizarre house, Senta's sincere love tainted with unsettling ideas).

Benoît Magimel and Laura Smet embody the cursed couple to perfection.

In addition, there are excellent supporting performances, mainly from Aurore Clément ( the mother whose suffering is made apparent despite the character's efforts to hide it ), from young Anna Mihalcea ( striking as a young tortured rebel ) and from Michel Duchaussoy ( very amusing as good-natured tramp ).

All this fine movie lacks to be a genuine masterpiece is an extra dose of intensity. But , as it is, it's quite worth seeing.

About ten years before he decided to venture again in Ruth Rendell universe, Claude Chabrol had transferred to the screen "a Judgment in Stone" entitled "la Cérémonie" (1995). It was his last great masterwork although he somewhat betrayed the novel. The choice of Sandrine Bonnaire for the main role was ill-advised. Afterwards, his career followed a creative downswing with rather mediocre works such as "au Coeur Du Mensonge" (1999) or "Merci pour Le Chocolat" (2000). So, could a new excursion in Ruth Rendell territory boost his career again?

Alas no and the title of my summary should give you an inkling about my thoughts on the Chabrol 2004 vintage. However, there were some good elements to make the film compelling and to grab the attention. The first sequence showcases Benoît Magimel and his family in front of the TV news that reveals a murder. Perfect to weave an eerie climate. The big, imposing, eerie house in which Laura Smet lives seems to shelter dark secrets and the "bridesmaid" lives in the basement. Chabrol was also interested in the games of truth and lie that link his two main actors and real suspense lies in Magimel's personality dangerously attracted to the bridesmaid. The filmmaker's touch is also discernible at the wedding ceremony where he ridicules its crucial steps. See the church sequence and the feast which echoes to the one in "Le Boucher" (1970). While I'm evoking this meal, the gastronomy dear to Chabrol has three sequences devoted to it in the whole film. But let's come back to the bulk of the plot. Like "a Judgement in Stone", "La Demoiselle d'Honneur" was an exciting novel to read and again Chabrol skipped over some important points, notably the reasons which prompt the hero to steal the bust from Gérard Courtois (Bernard Le Coq). In the novel, he stole it because he thought that Courtois was a vulgar man, but here Magimel's motivations to steal the bust remain blurred.

The thrust of the novel and so of the film is a man who gradually loses the control of his everyday life facing a sensual, attractive disturbing young woman. However, things aren't looking good because there's an absence of unnerving climate and the scenario seems to have been sedately written, especially near the end. In another extent, I know what I'm going to write is questionable but I do think that Chabrol contemporary films suffer from the choice of the actors (see bland Jacques Dutronc in "Merci pour Le Chocolat" or Jacques Gamblin in "au Coeur Du Mensonge") and sadly "la Demoisele d'Honneur" isn't an exception to the rule. Magimel's character isn't credible at all. He should get bogged down in madness as he's deeply in love with Smet but it isn't discernible on the screen. Laura Smet (Johnny Hallyday's daughter) has a monotonous acting while Bernard Le Coq's part is underwritten. Michel Duchaussoy who was brilliant in "Que la Bête Meure" (1969) is relegated to a minor tramp role unworthy of his wide acting skills.

So, an absence of interest for this story of manipulation is surely due to its actors and also because like for "la Cérémonie", Chabrol made dull Rendell's novel. Mr Chabrol, let's put it this way: the best of your work is far behind you in time (roughly the dusk of the sixties and the dawn of the seventies) and you will probably never reach this scale again. How about contemplating retirement?

Claude Chabrol still has it in him to craft a relationship drama with trust in the dark corners of the characters, and make it seem reasonably realistic. He's working from a novel by Ruth Rendell (and I can only guess how much more detail there is in there compared to here), but it feels like vintage Chabrol, with some updates for technological bits like cell phones, as he takes a romance to very peculiar, twisted lengths that somehow the audience buys completely because of the characters and the actors playing them. In The Bridemaid he opens on Philippe (Magimel), an accountant of some sort who has a kind but mixed-up family that's getting ready for Philippe's sister's wedding. As if in a slight update on Le Boucher, Chabrol has the set-up at the wedding for the two main players, as Philippe meets bridesmaid Senta (Laura Smet), and after the wedding she arrives at his house, drenched in rain, and they have a lustful encounter.

It's pretty close to immediately after this that Senta confesses her love for him, unquestionably, as if she knew it totally on first sight, and that now he is her's and so on. Upon this one might think, sarcastically, 'this can only end well', as love at first sight, save for a Disney movie, always leads to trouble. In this case Senta is adamant that Philippe, despite also confessing his love (however true or not is a curious part of the Bridesmaid I wasn't sure was a character flaw or a flaw in the story), "prove" his love for her. This includes two easy things and two out-of-the-question: plant a tree, write a poem, kill someone, and have sex with the same sex. Although Chabrol doesn't touch on that last one, the 'kill someone' part becomes the juicy angle to the story, as one is on edge if someone is really dead or how Philippe will play the next move, and how blinded by this obsession Senta has with Philippe.

And yet Senta's obsession isn't seen as something with hysterics or over-the-top acting. Far from it, and characteristic for a Chabrol film, Smet's performance is precisely subtle and kind and intelligent and all those things that reel Philippe in against all better judgment. It's an inspired turn by an actress (excuse me, 'actor') who I hope to see more of. Same goes for Magimel, who is the 'hero' of the story as the good guy who wants to be there for his mom and troubled younger sister, but also has this strange attraction to Senta that soon pits him in an untenable (or so he thinks) position. As far as that central storyline goes between Senta and Philippe, it's gold and cool and as good as anything Chabrol did in the late 60s and 70s, with sweet hints of the erotic thrown in from time to time.

The only downsides are, naturally, some disbelief with Philippe early on, or in the initial appearances of certain twists, and especially how we're meant to put some extra stock in Philippe's family troubles (mainly Patricia as a petty thief) that aren't well developed and works mostly to show how his family is as firm, warm counterpoint to Senta's clinging and desperate 'love'. But aside from this the fan of Chabrol whose been tracking his career for however long it's been going (since the late 50s early 60s with the other Cashier du cinema team) will hopefully be pleasantly surprised to know he's still got it in him to make compelling, dramatic cinema, with the usual Hitchcockian angles amped-up to a certain sinister, and ultimately tragic, glee. 8.5/10

This is a very good Chabrol movie. To me, probably his best since "Merci Pour Le Chocolat". The "atmosfear" was captivating, the script well written. The casting is great. The sets were mysterious (the old castle, for example). Well, to make a long story short, if you like Claude Chabrol's suspense movies, please, do yourself a favour and watch this one. Much better than the previous one, "La Demoiselle D'Honneur", was, I think, innovative enough to mark the mind of even his (Claude Chabrol's) long time fans in the deepest way. If he's physically getting old, as we all do, Chabrol's mind is still very sharp and a joy to explore. In a word, the French Hitchcock is back in top form ! May be the Ruth Rendall background of this movie gives it its best aspects. "La Demoiselle d'Honneur" is a kind of child-movie to an older Chabrol's masterpiece called "La Cérémonie".