Kommissar Bellamy

Several reviewers seem bored, annoyed or just disappointed by this film.

Well, it is not a crime film. The trial scene tells you that, when the defending lawyer presents his case to a grinning judge in song. And the policeman leading the case, who we never see, has been bonking one of the key witnesses, the glamorous pedicurist and tango dancer. The mystery elements are not meant to be taken seriously, being almost a McGuffin, for it is not really a police or detective story nor, with the fanciful coincidences and whimsical names, is it plot-driven.

So what on earth is the film about? For a start it is a tribute to Maigret, France's most famous fictional detective. Maigret had a loyal wife who kept him well fed and took an intelligent interest in his cases. Bellamy's lovely wife keeps him lively in bed as well. Maigret studied people, had a way of getting them to talk and then listened acutely. Watch how brilliant Bellamy is, particularly with women who, even if they do not give him the whole truth (how many do?), certainly tell him a lot.

As so often in French cinema and literature, what we have is an exploration of relationships, of interactions between people, analyses of character. The title tells us that, It is about Bellamy, his life, his work, his delightful wife and in particular his dark side. Here, his half-brother is his evil shadow who inverts all his values. Bellamy has given up drink and his brother is an alcoholic. While Bellamy upholds the law, his brother steals from everybody. Bellamy seeks out the truth: his brother tells lie after lie

What we are given by the ageing Chabrol is a journey into the mind of a man who has spent his working life fighting crime yet, like all of us, has the hidden criminal within him. By spending time with Bellamy, we see some of his essential humanity and so see something of ourselves.

Chabrol is 78, and this is his 57th film. He's in fine form here, though this hasn't quite got the delirious malice or the cloying bourgeois atmosphere of his most potent works. The closing dedication is to "the two Georges." They are Georges Brassens, the French singer-songwriter, and Georges Simenon, the prolific Belgian-born maker of novels hard and soft and the creator of the inimitable Commissioner Maigret. This is the first time Chabrol and Gérard Depardieu have worked together. For the occasion, Chabrol has conceived a lead character who's half Maigret, half Depardieu. And he has based his crime plot on a news item. The ingredients blend well and the result is guaranteed to entertain.

There is an actual Maigret novel in which the Paris detective goes on vacation with his wife, but then becomes involved in a case. ('Les Vacances de Maigret'--and it was made into a film!) It's a foregone conclusion that Maigret, and Chabrol's Commissioner Paul Bellamyworki (Depardieu) is no different, is happiest when he's solving a murder mystery. Bellamy spends every summer with his wife Françoise (Marie Bunel) in the region of Nimes, in the south of France, where she maintains a cozy bourgeois family house. She would prefer they join a cruise on the Nile, where Bellamy would be less able to get his nose into French crime, but here they are. And as the film begins and Maigret, I mean Bellamy, is doing a crossword and Françoise is planning dinner and shopping, a suspicious-looking lean sort of fellow called Noël Gentil (Jacques Gamblin) is hovering around in the garden just outside the picture window, and finally gets up his courage and raps on the front door. Bellamy has written a well known memoir and like Maigret is so famous people seek him out.

Mme. Bellamy turns the man away, but there's a phone call, and Bellamy goes to a motel room, and he finds this chap interesting because people interest him. Gentil turns out to have several aliases, and even faces, because he's sought the help of a plastic surgeon. He shows the photo of a man who looks rather like himself and says he "sort of killed him." He declares himself to be in a terrible mess. There are several women, a wife (Marie Matheron) and a beautiful young woman who has a beauty shop (Vahina Giocante) in the town. And, as in the Simenon novel, there is a local police inspector, a certain Leblanc, whom Bellamy doesn't respect, and assiduously avoids, and Chabrol never shows us on screen.

M. Gentil turns out to be a suspect involved in a double life and a devious crime. But he is seeking the Commissioner's help--on a private basis. It has to do with an insurance scam that went awry.

Chabrol is also involved in a double process, because the film takes a complicated family turn with the arrival of Bellamy's ne'er-do-well half-brother Jacques Lebas (Clovis Cornillac), who gambles, drinks too much, and has a habit of going off with things that don't belong to him. Cornillac wears this character's skin so comfortably he never seems to be acting, and with a part like this, that's a neat trick, and he makes Jacques somehow elegant as well.

Part of the charm of this easy-to-watch if unchallenging film is the warm relationship between Françoise and Bellamy, which is romantic and affectionate and physical and cozy all at once. Bunel and Depardieu (who is very large now, a benignly beached whale in a good suit) play very well together. There is a dinner with a gay dentist (Yves Verhoeven) and his partner, which Jacques horns in on; this isn't terribly interesting. Nor is the case extremely resonant. The most memorable moments are those between Bellamy and his wife and his love-hate squabbling with the unpredictable half-brother, which are enhanced by the bright colors and warmth of the southern French setting. There is a young lawyer who shines in court, and lines from a Georges Brassens song are used in a surprising way. Fans of Chabrol and of Depardieu (and the two Georges!) won't want to miss this.

Bellamy opened in Paris February 25, 2009 to decent reviews. Given its north American premiere at the Rendez-Vous with French Cinema at Lincoln Center in March 2009, this seems sure to get a US distributor, but none has been announced yet.

Bellamy (Depardieu) is a famous Parisian police detective on vacation in Nimes with his wife. He is intrigued by a local scandal involving an insurance scam and death. The perpetrator of the scam contacts Bellamy for his advice.

His curiosity is roused and he meets the con.

I agree with the reviewer who said this slow moving boring film has a bunch of subplots that never seem to go any where. I would add the film tries to be deep with tons of meaning of life dialogue. This mixture comes off as vapid.

I suppose the main subplot concerned Bellamy's (Depardieu) brother Jacques (Clovis Cornillac) who is miscast at 20 years younger than Depardieu. In the end we find out that Bellamy almost choked him to death as a child. So?

Look this movie is a dud. Even with the tantalizing evidence of a twist ending of sorts. It is too vapid = a non suspenseful non thriller non anything waste of time.

Also Depardieu's naughty sexual behavior towards his wife is a pathetic prop to add virility to this fading obese star. Depardieu is also portrayed as a sort of a walking Socrates plum full of contemplative dialogues--the worst sort of French film flaw---talk talk talk talk....

Do not rent or watch this film.

I suppose when I rate this movie more highly than many other people it's because I haven't had enough exposure to Claude Chabrol. For me this falls under the category "French movie," not "Chabrol movie." So those who are less discriminating may like the movie as much as my wife and I did.

European movies are better than American to the extent that they show ordinary people's lives lived at any ordinary pace. They're worse when they indulge in incomprehensible or surrealistic profundities. "Bellamy" teeters on the edge of the latter now and then, but gives us many pleasures of the first kind. It's a murder mystery, sort of, but more of the "what happened?" than the "who did it?" variety. In addition, it's a view into the life of Inspector Bellamy and the people in his life. His relationship with his wife is simple but enviable (perhaps improbably so). Marie Bunel is perfect as the wife.

The film does have some irritating attempts at profundity, but they are not too distracting. It's more distracting wondering how Gerard Depardieu, the Inspector, can have a brother played by an actor 20 years younger that he supposedly grew up with.

Marie Bunel as Françoise Bellamy is the real keeper in this movie. In a world where nothing is as it seems, she is just as much an enigma. The scenery is the second best co-star in this flick.

The movie does move slow and if Gérard Depardieu gets any fatter he won't fit on the television screen. It will become a requirement that his movies must be watched at the cinema.

His performance is uninspiring. Save this movie for a rainy Sunday afternoon.

What would you expect for a man that sums himself up by saying, "I'm not a monster, I'm just a man who wants to pee."