L'origine du mal

_L'Origine du mal_ vaguely reminds me of Claude Chabrol's _Flower of Evil_.

Both films are about a controlling patriarch, his dysfunctional family, his old(ish) money, possible incest.

Sebastien Marnier's 2022 film is even shot around the Les Sables-d'Olonne area, not far from Bordeux, the setting of Charbrol's film. In truth, _The Origin of Evil_ is far more interesting, and nastier, than _Flower_. The use of the split-screen technique adds to the ironic, detached tone.

It is not much of a spoiler to reveal that the down-and-out con artist played by Laure Calamy decides to takes over the identity of Stephane Dumontet, the long-lost illegitimate daughter of rich but frail Serge. She visits his chateau (only reachable by boat) and they hits it off at once. But his wife Louise (Dominique Blanc), daughter George (Doria Tillier), and maid Jeanne (Celeste Brunnquell) are considerably less pleased. Calamy, with her demure charm and easy smile, starts to wear down the women's resistance, but everyone turns out to be quite a bit more troubled, and perhaps evil, than he/she first appears.

It is a psychological thriller Chabrol would have been proud of. The main issue is Calamy, whom I like and who is wonderfully expressive as usual.

However, she does seem to have the same facial expressions and reactions whether she is annoyed at her married lover (_My Donkey, My Lover, and I_), facing the lost of her job (_Full Time_), or confronted with someone intent on killing her. In other words, she could use a bit more range. Blanc is very good as the long-suffering wife who is not above getting her revenge on her husband, while Jacques Weber also surprises with his multifaceted character.

Tillier (_Mrs. And Mme Adelman) has a more straight-forward role. Wow isn't she towering; she must be a full foot taller than Calamy. I wonder if that isn't why she is cast.

The Italian title is absurd. In the original it does "The Origin of Evil"... and then everything changes. It's NOT a comedy, it's the baddest movie of the last ten years. In comparison, the "Parenti Serpenti" of the unforgettable Monicelli... are collegians. Nothing is as it seems nobody is who it seems. The plot unfolds in an absolutely intriguing way, revealing the truths little by little. The split screen in some sequences is even intelligent.

Doria Tiller is charming, colder than ice, she remind me about her opposite performance very heartfelt and warm in "Un amore sopra le righe" (Italian title) The hospital scene is... devilishly terrible... while the final scene... with that fabulous close-up that... For me 8/10.

A woman tearing through the great distance between two distinctive worlds while doing all and anything to survive. A great story on the cruel ways of man. Story is predictable from the end of it's first quarter but it's the fateful twists and turns that's evermore interestingly keep the story alive. Great cinematography that brings the feminine theme very well. Visuals are excellent in portraying the intended emotions and setting the tone of each scene through visuals. Unique music that works well with the movie. There's a lot of good symbolisms such as how Serge name girls to understand where the origin of everything is. It's both funny and sad how perpetrator gets found and how Stephane's fate is decided. A great story that anyone would enjoy.

The Origin of Evil; A French and Canadian Noir Black comedy which flirts with the slipstream of Horror. Nathalie (Laura Calamy) is a Ripleyesque character, an identity thief who now attempts to assume the role of Stephane the long lost daughter of a wealthy man, Serge (Jacques Weber). His family are not happy to see her, George (Doria Tillier), her "half sister" is especially suspicious. Serge's wife Louise (Dominique Blanc) is also unwelcoming at first but begins to see Nathalie as a possible companion. Though she works in a fish canning plant on the production line, Nathalie pretends that she owns the factory. It is certainly an odd household, Georges's daughter Jeanne (Celeste Brunnquell) describes it as a madhouse, Louise obsessively buys all sorts of things online, every room in the villa has unopened boxes, Jeanne continuously takes photographs. The family are uncaring towards Serge, bullying him since he had a stroke, not helping him up when he falls, trying to gain power of attorney over his business. The housekeeper Agnes is a spy for Louise and George. Serge sees Nathalie as a potential ally who can be a witness at his competency hearing. But there are many plot twists to come as Nathalie reveals hidden strengths to emerge as a very talented Ms Ripley indeed as her intentions become more refined. But even she has problems as her imprisoned lover ( Suzanne Clement) retains an interest in her. Sharp dialogue, an interesting use of split screen, sometimes up to five different viewpoints simultaneously and the darkest of humour speed this narrative along. Great acting from an ensemble cast. The ghost of Patricia Highsmith is smiling down on this production. Directed and Co-Written by Sebastien Marnier. 8/10.

I'm beginning to think that Laure Calamy doesn't make rotten films. She's really quite effective in this story of greed and manipulation as "Nathalie" or is that "Stéphane"?. Hmmm! Well initially, she's incarcerated with her lover (Suzanne Clément) but next thing she's writing to her wealthy but estranged father (Jacques Weber). A reconciliation takes place and she is quickly whisked off to his opulent villa where she is introduced to his rather eccentric family. There's the profligate wife "Louise" (Dominique Blanc) who spends fifteen hundred Euros a day shopping on the internet; very sceptical and ambitious daughter "George" (Doria Tillier) and their slightly creepy maid "Agnès" (Véronique Saura). When the family discover that their new arrival has no ID, they begin to suspect she's not quite all she claims. He, on the other hand, is facing court proceedings to cuckold him and give control of his money to his grasping family. He hopes that his new daughter can testify to their love and strong relationship and convince the judge he's not lost the plot. What happens now allows Calamy to get her character under your fingernails. We know what's actually going on from fairly early on, so the plot plays second fiddle to the acting and those characterisations here are engaging. Plaudits also must go to Blanc who pulls off the slightly deranged wife with aplomb. The denouement has a delicious little twist to it that, though probably a bit unrealistic, does add that je ne sais quoi to the proceedings. It's a little too long and maybe takes fifteen minutes more than we need to set the scene and get going; but once we are up and running it's well worth a gander.