No va más

What a viewer makes of a film very much depends on the expectations that he or she brings to it. I had previously seen five other films directed by Claude Chabrol and considered all of them impressive. "Rien ne va plus" came as something of a disappointment. Though recognisably the work of the same director, it struck me as markedly inferior in terms of atmosphere and depth - which is not to say that it is a bad film by general standards. The quality of the acting is very high. Isabelle Huppert (Betty) is always extremely watchable, and Michel Serrault (Victor) is equally subtle. Their characters may not be the most credible of thieves, but the first part of the film, showing their practised hotel-based criminal double-act, is polished and amusing. After this, my enjoyment of the film steadily diminished. That none-too-original plot device, a briefcase full of banknotes, comes to the fore. (Criminal 'capers' have never much appealed to me.) When the action then moves to Guadeloupe, it turns into a run-of-the-mill gangster film (a genre that I like even less). I found myself waiting for the end - and, when it arrived, it might have come from Hollywood.

Viewers who do not view it with my preconceptions and aversions may certainly enjoy "Rien ne va plus". It is undoubtedly a well-made film. In future, though, when I recommend the works of Chabrol, while drawing attention to "Les biches", "Que le bete meure", and "Merci pour le chocolat", I may add the proviso: 'But I wouldn't bother with "Rien ne va plus". It's nothing very special in comparison'.

The movie is certainly lighter Chabrol, with a plot that inherently depends on his frequent theme of the ambiguous relationships between people and their capacities for deception, but generally chooses to concentrate on understated elegance: even when Huppert finds a man dead in the bathtub with a spike through his eye (a moment of genuine shock value even though you more or less know it's coming) the nastiness is quickly absorbed into sophisticated exchanges with the (rather cliched) gangsters. The ambiguity extends to the relationship between the two protagonists, which appears to be father-daughter although the movie often seems to be hinting otherwise - the long lingering final shot is probably the final tease in this respect. Serrault plays his character in an engagingly grumpy, short-fused manner, which contrasts pleasantly with Huppert's pure show of elegance. Even though the opening scam seems like a dress rehearsal for a more complex and challenging movie than we ever actually get, the thing glides by most enjoyably; no less so for the faint air of slumming.

The smalltime swindlers Elizabeth "Betty" (Isabelle Huppert) and Victor (Michel Serrault) make a living by cheating naive people. After swindling a salesman of garden tools in the French Riviera, Betty travels on vacation alone and schedules a next scheme in ten days in a congress for dentists in Sils Maria. However, Betty arrives at the hotel with Maurice Biagini (François Cluzet), who is the treasurer of a company that is traveling cuffed to a wallet with five-million francs. She tells Victor that she has the intentions of stealing his money and Victor plots a scheme using the naivety of Maurice. But soon the con artists have to face the dangerous associates of Maurice.

"Rien ne va plus" is a highly entertaining thriller by Claude Chabrol. I saw this movie for the first time in the late 90's and I liked it more than today. There are flaws along the story that I did not pay attention to when I watched it long time ago. But if the viewer does not think too much, he or she will like the plot points in this film. My vote is seven.

Title (Brazil): "Negócios à Parte" ("Business Aside")

Note: On 09 January 2025, I saw this film again.

Betty (Isabelle Huppert) and Victor (Michel Serrault) are an unusual pair of con artists. She, in her forties, and he, in his seventies, share a relationship that defies definition: are they friends, lovers, or perhaps relatives? The ambiguity of their bond, brilliantly portrayed by the actors, lingers throughout the film, even up to its conclusion.

Specializing in small-time cons, Betty and Victor take on a far more ambitious scheme when she seduces Maurice (François Cluzet), a corporate treasurer, to steal 5 million Swiss francs. What begins as a meticulously planned heist soon spirals out of control as they become entangled in money laundering, plunging them into a perilous situation unlike anything they've faced before.

With sharp black humor, Claude Chabrol masterfully blends comedy and thriller elements, creating an atmosphere that shifts seamlessly between levity and suspense. The influence of cinematic greats like Lubitsch and Hitchcock is evident in the interplay of lighthearted moments with darker, more sinister undertones.

As the plot thickens, the audience is drawn into a web of intrigue where nothing is as it seems. The intricacies of the central con leave one wondering if Betty and Victor are not only deceiving their mark but also each other, sustaining a thrilling sense of unpredictability throughout.

It was refreshing seeing a con film again. As it is, it is quite light, and there is hardly anything I haven't seen in it, but does being pleased necessitate a constantly churning wheel of brand new things? It's a fun hour and forty-five minutes of standard con mechanics, and if you like con mechanics you will be delighted.

There is a point where you will find yourself surprised as the tone the film suddenly takes and controls well. Another thing it controls well is its handling of its twists, for there are always twists and mentioning their mere presence is like mentioning Spider-Man's presence in Spider-Man 3. The twists are interesting in that they feel predictable or that they're taking the simple way out, but that is never for certain.

Michael Serrault is the film's great highlight. He is tremendously likable and infectiously dry, and his occasional physical timing or subtly crisp one-liner holds the film's smiling side at bay amidst some token moments of comic relief, namely the presence of the gaudy widow whom Serrault constantly must try to hide from. And of course Huppert, as the film's real star, is truly perfect as a con woman, a 100% confident seductress, the fleshed out realization of the practically imagined version of a con woman. She does not stand out nor is she below par, even if she is upstaged a wee bit by Serrault, because she even characterizes her character's elusive quality.