La ceremonia

A rich French family hires a mousy maid who has some peculiar traits. It starts out as a nice character study, with Bonnaire creating a sympathetic figure as a young woman who struggles with her illiteracy but is too ashamed to to let anyone know about it. In the last act, however, the film goes south, turning into a silly thriller. The ending is particularly contrived and ridiculous. Bonnaire is quite good as the maid, as is Bisset (speaking in French) as her kindly employer. In fact the whole cast is fine. Chabrol is regarded as the French Hitchcock, but he lacks the master's skill for building suspense with wit and subtlety.

I see this movie for the third time and can't prevent myself to notice the pure Claude Chabrol style in the critic of the rich people, especially in the province. But the ending is very bloody and surprising too. And in the mean time, since my last viewing, I saw PARASITES and I can't also prevent myself to see a thin line between the two features. If you have seen both features, you see what I mean. A pure delight.

In this character study of two hateful middle-aged women (not so middle-aged in the movie, however, as in the novel by Ruth Rendell) we are made to fathom the bad that may befall the good.

Claude Chabrol's direction is clean, crisp and uncluttered--which isn't always the case, witness his Madame Bovary (1991), which is a bit too leisurely and L'Enfer (1993) which muddles a whole lot. Maybe it's the editing. Anyway this is more like his quietly brilliant Une affaire de femmes (1988) with a fine script and striking performances by Sandrine Bonnaire and Isabelle Huppert, handsomely supported by Jacqueline Bisset, Jean Pierre Cassel and the very pretty Virginie Ledoyen.

Bonnaire plays Sophie, an intense taciturn woman harboring dark secrets, whom the Leliévres have hired to cook and keep house at their country home. Bisset is Catherine Leliévre and Cassel her husband. They exist in bourgeois heaven avec matrimonial bliss with two teenagers, a family so closely knit and so charmingly together that they watch a two-part production of Mozart's Don Giovanni on TV, just the four of them cosily on the couch.

Well, this sort of unobtainable happiness doesn't sit well with Jeanne (Huppert) who is a lowly postal clerk living alone whose past includes the (accidental?) killing of her four-year-old daughter. Jeanne takes a fancy to the Leliévre's strange new maid with the idea of showing her something besides work. They strike up a fateful friendship that we know is leading to something horrible.

Huppert is as good as I've seen her, which is very good indeed. She is particularly striking here in an uncharacteristic role as a spiteful, working class woman with a heart of vengeance against anybody better off than she is. There is just a touch of sly irony in her performance suggesting that she is having a particularly good time playing the nasty. Bonnaire's stark performance as the unbalanced and humorless, reclusive Sophie will remain etched in your brain. Apart they are like inert, harmless chemicals. Together they catalyze one another and become brazen and explosive.

The story, filled with little foreshadowing of the tragedy to come, gilds the lily of our tristesse by making the Leliévres so very, very nice. We are reminded of the violent hatred by the proletariat toward the privileged classes, in this case acted out by two loonies against an innocent, but representative family, echoing not only the Russian Revolution but even more so the French Revolution, now two hundred years old.

What I am trying to figure out why this is called La Cérémonie. Maybe it is a ceremony of execution.

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Based on Ruth Rendell's Judgment in Stone, French auteur Claude Charbol transplanted this quintessentially English thriller about class and guilt to France, where he can fire more bullets at his favorite target - the French bourgeoisie. Without giving too much away, the story unfolds at a slow pace to reveal the class divisions and complex psychological issues that drive the characters' motivations. Centring on an illiterate maid, Sophie, who goes to desperate lengths to hide her "disability" from her employers, the wealthy Lelievre family, she eventually strikes a bond with the local postmistress who has mysterious grudge against her friend's employers. This film provided Chabrol with plenty of opportunities to criticize the disaffected bonhomie of the Levlievre family, but at times his presentation of some members of the Levlievres actually enlists our sympathy and therefore strikes a blow to the validity of his critique of French bourgeoisie values. Perhaps this was his intent to create more ambiguity than most psychological thrillers in this genre would allow. It's worth watching for the climax alone which has a delicious twist worthy of a mass-market Hollywood sequel.

The performances were fine, Huppert in particular was a lot of fun to watch, but the camera direction was awful, completely chilly and remote like the worst of Haneke's work. The remove and coldness, this intentional distance leaving room for judgment from the filmmaker (and the audience) rather than more fluid and closer shots encouraging closeness and empathy, really made the whole thing lackluster, at best. Also, there were some very heavy handed and poorly drawn moments used to bash us over the head with the weight of Sophie's secret. Having not read the source material, I'll reserve my opinions on the script, but it felt to me like a completely uninspired outing and can only imagine Chabrol took the job only for the money as he seemed to never find anything that interested him in the story.