Las dulces amigas

Although comparisons to Hitchcock are inevitable (and perhaps deserved), Chabrol's best films have an ethereal quality and a unique approach to the storytelling that's all his. In many ways, although coming in the late stages of what is considered by many Chabrol's transitional phase (which I sometimes think is a polite way to say 'Chabrol went daft on us and decided he was a glossy espionage thriller sort'), "Les Biches" is reminiscent of some of Chabrol's early films, including the ones which were key to the development of the French New Wave. There's a lot of that in this film, with its off-kilter approach and unconventional editing, a pleasant surprise coming after the glossy, typical murder-mystery that was "The Champagne Murders". This film fits perfectly with Chabrol the auteur's style, ideology, and storytelling method (focusing heavily on the characters), and it's nice to see him craft such a visually remarkable film after the disappointments that preceded.

Before going further into the visual aspects of the film I'd like to address the script. In short, it's great. It's the sort of thing that could have so easily been a heinously atrocious melodrama or a cheap skin flick (which, as the film involves bisexuality, is unsurprisingly how it was marketed in the US), but is so intelligently-written and well-developed that it works tremendously well. Most importantly, of course, the characters are complex and interesting enough to carry the first half of the film, before the strange relationships between the three main characters come to the forefront and Chabrol relentlessly builds the sexual tension and suspense all the way through to the film's excellent final scene.

The visuals are unquestionably Chabrol. The direction is highly controlled and the camera is rarely still, and even then a zoom is almost expected. With most other directors this would almost feel impatient and unnecessary but Chabrol is always able to use the technique to his advantage, using the motion evocatively and reflecting the nature of the film's events, and this also means that stillness can be used to great effect (as it is in a key scene in around the hour and twenty minute mark). The cinematography by Jean Rabier (Cléo de 5 à 7) is excellent and doubtlessly influenced heavily by Chabrol, who frequently favors muted colors, especially pastels, and understated use of sunlight. The choreography of the camera movement and those in front of the camera is of far more interest than the photography, however, and may even be a nuisance to some viewers as the movement of the characters is often very contrived and even unnatural to create a particular sort of shot composition. These scenes achieve a sort of gracefulness that ultimately works in favor of the film stylistically, but realists and naturalists might be upset.

"Les Biches" is one of Chabrol's better sixties films, a taut, suspenseful drama that should be approached without any specific expectations of genre or style. The characters carry the film, and Chabrol's stylish but sophisticated direction keeps the film involving and gripping, allowing the viewer a rare bit of comfort now and then before raising the tension again.

9/10

In Paris, while crossing a bridge over the Seine, the bored bisexual millionaire Frédérique (Stéphane Audran) meets the homeless young street painter Why (Jacqueline Sassard) and invites her to drink tea at her apartment. They have a love affair and Frédérique brings the virgin Why to spend winter in her house in Saint Tropez, where two weird gay friends of her live. When Frédérique gives a party for a few guests, the handsome architect Paul Thomas (Jean-Louis Trintignant) hits on Why. She is seduced by Paul and spends the night with him in his place. On the next day, the selfish Frédérique visits Paul and seduces him. They travel together to Paris and when they return, Frédérique tells Why that Paul is going to live with them in her house. Why is disturbed and she secretly poses like Frédérique unsuccessfully trying to seduce Paul. One night, Why proposes them to get drunken expecting to go to their room and have a threesome, but she is unwanted by the couple. When Frédérique and Paul travel to Paris for an urgent business, the deranged Why follows them expecting to stay in Frédérique's apartment. But when she is rejected by the socialite, tragedy is announced.

"Les Biches" is a sensual and sexy thriller divided in four parts ("Prologue"; "Frédérique"; "Why"; and "Epilogue") and ahead of time for a 1968 film, dealing with themes like bisexualism and homosexualism in subtle situations. The romance between Frédérique and Why, for example, is never explicit but it is to be read between the lines through the glances of the socialite to her protégé. Why Frédérique supports her two gay friends is never clear but maybe she finds them amusing with their silliness. Paul Thomas seems to be only interested in Frédérique's money but his character is also not well developed and serves only as a pivot to the tragedy. The open conclusion is left to the interpretation of the viewer and a trademark of Chabrol. My vote is eight.

Title (Brazil): Not Available

Note: On 02 December 2024, I saw this film again.

'Les Biches', whilst not my favourite Chabrol film ranks among his best. On one level it has sumptuous cinematography on a par with 'Le boucher', another excellent score, courtesy of Pierre Jansen and some very stylish direction. All Chabrol's actors play their parts beautifully although Audran undoubtedly has the best material.

But what marks this film out and what many cannot appear to perceive is that it is not a meditation on class or a portrait of a 'menage a trois'. It does touch on those subjects, as do many of Chabrol's films, but this film is essentially about identity and it's destruction or absorption by another. Stephanie Audran's character is, put simply a VAMPIRE. This is humorously and beautifully established early in the picture when she first meets Sassard's character 'Why' on a bridge in Paris amid a Gothic mist and with Audran looking drained and evidently needing a new victim. Many have commented on Jean-Louis Trintignant's acting, arguing that it is bland or inexpert, failing to realise that as part of the plot he had to be 'consumed' by Audran and had to appear ineffectual. Compare Audran's extraordinarily vital, near superhuman character in 'Les Biches' to her purposefully meek character in 'La Rupture' and one can begin to see what a subtle and intelligent actress she is.

On first viewing 'Les Biches' some years ago I was mystified and like other reviewers irritated by the two scroungers Robegue and Riais. After further viewing it appears they are purposefully antagonistic and their apparently parasitic relationship points to them being Audran's familiars.

The raison d'etre of the film are the final sequences in which 'Why' ultimately escapes the fate of Paul and destroys Frederique by becoming her. So 'Les Biches' is essentially a nuanced and very stylised commentary on identity and it's struggle to coexist within a relationship.

Chabrol had a habit in the 60's of casting his wife in lead roles; these are often the most forgettable of his films. Stephane Audran was used for her object-like beauty (her cheekbones are really striking)but there isn't much behind the mask. Here, playing Frederique, a bisexual rich woman in glamorous decors out of Vogue or Madame Figaro, she gets to swan around in chic clothes and give jokey line readings. To the cook: "Vi-o-let-ta, je te pre-sen-te Ma-de-moisel-le Whyyyy-eee!"

Thankfully, there is a story to be told, and Chabrol does that competently enough, although there is far too much time given to those two stalwarts Attal and Zardi, here playing gay musicians sponging off Frederique. Jacqueline Sassard plays Why with no discernible interest or ability; she's got a luscious, pouting mouth but no presence on the screen. Jean-Louis Trintignant, the boy toy, is as earnest as a Boy Scout, which is all the part calls for. This is not a serious study of polyamory, or alternative sexuality or anything else. It's chic, expensive and dead.

Many films uses the "Menage a Trois" element to cause disturbances in the relationship between three people. "Les Biches" uses this device to completely destroy its three characters. A perfect psychological film, "Les Biches" is the ONLY film that I know where it doesn't use Menage a Trois as a facade, but allows the film to explore its themes of Jealousy and Obsession to a sensual and extremely disturbing effect. Not even Truffaut's "Jules and Jim" used the device to this extent. This film is suited for people who loves to watch movies that will make us think, rather than movies that tells us what to think. Truly a hypnotic character study on physical and spiritual obsession. Kudos to Chabrol, his lovely wife Stephane Aubran, cinematographer Jean Rabier, and the sensuous Jacqueline Sassard for their specific roles in creating a chilling masterpiece.