Prostituta de día, señorita de noche

This was Claude Chabrol's 15th film that I saw and was a bit disappointed. The film is reasonable, has merits, good interpretations, but for a real shocking story that happened in 1933, I expected more from the film, the way it is told the story and empathy with the motivations of the characters, which never happens. Ten years later, in 1988, again with Isabelle Huppert, Chabrol made a film that has some similarities with this, I speak of "une affaire de femmes", which is undoubtedly a superior film.

It is an atrociously unlawful act depicted in Chabrol's sensational melodrama, the based-on-a- true-story type (a murder case in 1933) which would usually generate a slew of horrific feedback in the social news commentary, about an adolescent girl poisons her parents in order to back up her gold-digger boyfriend to elope together.

What makes the film so gravely provocative is the entire scheme of Violette (Huppert) seems so juvenile and wanton, the viciousness is inexorable and beyond any logical solace. Violette is a lackadaisical, apolitical and promiscuous teenager, although at the age of 24, Huppert is unbecoming to pass for the role, but Chabrol adroitly restyles Violette with a more precocious patina, the dexterous transition between the good girl veneer when she is with her parents and the motel-hogging and man-hunting hussy potently incites Huppert's chameleonic escapade, each and every single frame zooms in on her unprovoked aloofness and obtrusive sex appeal. She is perpetually indulging in her own pathetic realm, sneers at her parents' clumsy intercourse and disgruntled at their ordinary petit bourgeois trivia, she is in an impetuous situation to find an egress, but the man in her dreams is a major disappointment as viewers all being well- informed in advance, it is money he is on the lookout for. The affair is doomed to futility, in some sense Violette knows it fairly well, but it is the defects (the egocentric selfishness, deep- rooted misanthrope and diabolic cruelty) in her character blind her sight, poison her mind and abet her into carrying on the abhorrent action.

After the murder plan goes as expected and the lousy gas-accident cover-up, Germaine, the mother (Audran) survives the poison, it is not a detective story after all, instead, it is an awkward moment of facing the truth, but Violette's vituperative accusation to her late father (Carmet) in order to justify her motive shatters all the expectation if there is any mercifulness left in her, she is an archetype of the malevolent side of human nature, an anomaly which defies all the logical interpretation, she and Dr. Hannibal Lecter can be an adorable couple!

Stéphane Audran, whom I just appraised for her delicate performance in BABETTE'S FEAST (1987, 8/10), is astounding here as the overbearing but doting mother of Violette, she is the one we can mostly project our compassion on, yet, we might also prompt to question her tutelage, perhaps she is at least partially responsible for the decadence of her sole daughter, how Violette's double act (constantly stays in motels and hangs out someone the parents have never met) can blatantly evade a mother's instinctive nature is a shade bemusing, not to mention the intaking of unknown medicine for the sake of hereditary syphilis, at least verify with the doctor first (and in this case, both parents are too unmindful)!

New to the canon of Claude Chabrol, the pick of VIOLETTE may not be the optimum starter, the disrupted narrative never fully register any excitement barring a bitter aftertaste and shocking values of the subject matter, its foremost merit is to grant Huppert a stage to unleash her glacial pulchritude, which one can appreciate from every unyielding close-up on her, and comfortingly augurs an eminent career for her as crème de la crème of the French cinema, her screen magnetism is inherent.

In 1978, when Claude Chabrol made 'Violette Noziere', many people in France remembered very well the criminal case of the woman who gives the film its name. It had been one of the scandalous, passionate, and morbid stories of the interwar period, a story that competed on the front pages of Parisian newspapers in 1933 with the news about Adolf Hitler's rise to power in Germany, and which had divided the French public opinion into two camps, as no another sensational affair had since the Dreyfus case. The heroine of the gloomy story was a 16-year-old girl from a working / mid-class neighborhood, who had poisoned her parents. The father had died but the mother survived. The investigation revealed the double life of a girl suffocated by the environment in which she lived, considered a sinister criminal by some and a victim of social conditions and a perverse family environment by others. However, Chabrol only mentions in passing the media scandal around this case, being rather fascinated by the young woman's personality and also fascinating his spectators in the way he tells the story of the crime and the circumstances that led to its committing.

The whole film revolves around the heroine played by Isabelle Huppert. The script is quite faithful to the story, presents the facts as reported by the press of the time and does not try to serve surprises or insert speculative interpretations about the reasons for the actions and the psychological sources of the acts committed by the young woman. The director's attention is focused on reconstructing the confined and devoid of personal separation in which the Noziere family lives, the bohemian environment in which the young high school girl spends her time in the company of students, crooks, and old bourgeois who take advantage of the youth of girls in need for money or sensations. Rejecting both moral judgments and psychoanalytic interpretations, Chabrol lets Isabelle Huppert build the role of the girl who, instead of teenage dreams, plunges into promiscuity, and who travels from adolescent rebellion to murder with an impassive coldness. We don't find too many reasons in the film that would put us as spectators in the camp of Violette's supporters, except for the personality of the actress who fills the role with gloomy feelings and self-destructive tension.

Isabelle Huppert achieves with the part of Violette in this film one of the first great roles of a fabulous career. She is supported by Stéphane Audran (the director's second wife, whom he would break up after 14 years of marriage and many remarkable films in the same year 1978) and Jean Carmet, one of those talented French actors whom Chabrol was giving the opportunity of consistent parts even if they were not first rank stars. A special award should be given to those who recognize Fabrice Luchini in one of the first roles of his film career. The style of the story is interesting and elaborate, temporally separated frames continue visually one another, flashbacks and imaginary scenes (especially from Violetta's fantasies or nightmares) are interleaved nervously and non-linearly, but perfectly following the logic of the action. 'Violette Noziere' manages to describe the interwar social environment, with social contradictions, moral prejudices, inequalities and stigmas related to the status of women and the pressure of the press of sensation. The film also intents to be a psychological study into the motives of the crime. Here, I think intentionally, the answer is not clear. We are shown the conditions that can generate crime, but not the gates that open between reality and horror. Judgments belong to us, the spectators.

It's pre-WWII France. Violette Nozière (Isabelle Huppert) is the only child living with her parents. She's a wild child. Her mother is angry when her doctor tells them that she has syphilis. She is able to convince that she got the VD from them. Meanwhile she falls for a stylish young man. She prostitutes herself and steals from her parents to give to him. She gives her parents fake medicine and then poisons them. In her trial, she claims her father molested her.

This is is a good movie except one thing kept bothering me. Isabelle Huppert looks too old. The story is based on a real girl who poisoned her parents at the age of 18. I never saw Violette as a teen. In fact, Isabelle Huppert looks 30 in her hooker makeup. I couldn't figure out why a 30 year old is living with her parents and acting like a kid hiding her makeup. I wondered if it's matter of the era she's living in. It's an easy fix if the movie lay out her age in an obvious way. She could have a birthday party. It throws the whole dynamic of the story and the family into confusion. The story really requires a younger actress to play this role. Otherwise, I like the performances but the age difference is really problematic.

Paris in the early 1930s: Fourteen-year-old girl Violette has relationships with various men and is disenchanted with her parents, who show no compassion for the girl's problems. How can they be solved? Not one of director Chabrol strongest works, film is buoyed by exceptional camerawork (Jean Rabier) and an appropriately melancholy performance by Huppert as the young girl. Interesting mainly for Chabrol enthusiasts, others beware of the complicated narrative structure. Most reviews reveal too much of the plot! From a novel by Jean-Marie Fitère, which is based on a true case.