8 femmes

RATING: ***1/2 out of ****

Being what it is, it seems like Francois Ozon's "8 Women" would have everything going against it. After all, the premise is hardly original and every single plot twist is predictable and derivative. There are plenty of Agatha Christie movies (not to mention the wonderful play "The Mousetrap") to offer us what "8 Women" promises as a mystery. Although I can't say if a murder mystery musical of this type has been attempted on film before, the musical numbers in this film are a bit awkward and stick out like a sore thumb. With all of this, "8 Women" would seem almost repellent. Truth be told, I loved every minute of it. The setting is Christmas in the mid-1950s, and seven women are gathering in the country home of Marcel (Dominique Lamure). There is his wife Gaby (Catherine Deneuve), who has just brought one of her two daughters, Suzon (Virginie Ledoyen) back from college for the holiday. Anxiously awaiting her are her peppy sister Catherine (Ludivine Sagnier), her disabled grandmother Mamy (Danielle Darrieux), her neurotic aunt Augustine (Isabelle Huppert), cook Madame Chanel (Firmine Richard), and newly hired maid Louise (Emmanuelle Beart). All of them, although not always on the best terms with each other, seem intent on having a good time this Christmas.

Too bad for them. As is customary to happen in movies with a large mansion housing many guests, Marcel (the only man in the house), is murdered. The phone line has been cut, the car has been sabotaged, and the weather is such that no one can scale the wall surrounding the grounds. One person, however, does get in: Marcel's sister Pierrette (Fanny Ardant), who arrives with a story (which may or may not be true) that she got a call the night before saying that Marcel had been murdered. It becomes apparent that the murderer is one of these 8 women, and it is up to them to tell the complete truth and find out everyone's secrets so that they can find out who the murderer is.

It's high time we have a film like "8 Women", a maliciously absurd exercise in high camp. It succeeds even... no, especially when it fails. The story itself is the kind of murder mystery that has been filmed over and over again in previous years, but it's impossible to get enough of. This film handles all of the conventions with the perfect Christie-esque tone. It's still as fun as ever to point fingers at various possible suspect, and "8 Women" is just predictable enough that even the least experienced viewer can partake in the fun.

And with this cast, why shouldn't we have fun? One of the main purposes of this film is to let these eight actresses simply enjoy themselves, and their wicked glee comes through on screen. I wonder if Francois Ozon was at all able to keep his authority as director during shooting. For let such fantastic actresses loose on each other, allowing all of them to inhabit such bitchy individuals, one had better stay out of their way. It is said that the best comedy relies on surprise. Be assured, "8 Women" wreaks such delectable havoc on it's premise that there will be plenty of opportunities to ask: "Did I really just see that?"

This film knows a secret that we haven't seen many low-key projects like this successfully handle in recent memory: when in doubt, just sing. The musical numbers have varied success throughout the film. All pop up sporadically and never really find a way to come to a conclusion, but each one is a highly enjoyable bonus aside to everything else that's going on.

In "8 Women", the first rule is: there are no rules. It's infinitely meaner (and much more enjoyable) than its non-musical predecessor "Gosford Park". It's hilarious in its maniacal irreverence, and it is yet another example of a film that would fall flat on its face if it were not for the actors leading the way. If I am going to be seeing a murder-mystery-musical, I would want none other than the cast of "8 Women" at the helm.

1st watched 1/23/2005 - 9 out of 10(Dir-Francois Ozone): Well crafted drama/mystery/musical that is so full it's hard to critique into a summary. The basic plot is that 8 related women find themselves in the same place at approximately the same time when the lone man is presumed to be murdered, who happens to be the grandfather, father, husband, bearer of child, lover etc… of the women(not necessarily in that order). You talk about complexity of plot? Every time someone opens their mouth another twist is thrown into the mix. I think it would take at least another viewing to understand everyone's relationship with everyone else by the end of the movie. And besides this, musical numbers are thrown in to help us understand the characters that are sung by themselves and sometimes backed up by the rest of the cast(ala Bollywood). One thing I have always noticed about French movies is that they come across as a confused people but they're OK with that, instead of the American's who believe that "they" have the answers to everything. This makes it slightly un-comfortable for us pompous Americans to view movies like this where every "real" thing in life is kind of taken with a little tongue-in-cheek mentality but this is the reality of their people and it's present often in their movies. Good for them!! This is so evident in this movie where because of it's mystery plot, we think that who did the killing is what's important, but what we find out is that there is much more behind the so-called answer we're seeking which makes for a very complex experience. Thank you French cinema. Without it there would not be movies like this.

'8 Women' is one of those rare films the kind of which one doesn't come across too often. The story sort of follows an Agatha Christie style in the 50s. Director Ozon does an incredible job of telling the story in a satirical way by taking advantage of stereotypes and making it into a musical.

The murder suspects include suspect's wife (Catherine Deneuve), her sister (Isabelle Huppert), his mother (Danielle Darrieux), his sister (Fanny Ardant), his two daughters (Virginie Ledoyen and Ludivin Sagnier), his cook (Firmine Richard) and his chambermaid (Emanuelle Beart). Each character is something that sets her apart, either a lesbian, or pregnant, or a con, or a seductress or unfaithful and so on. The cast includes some of the biggest names in French cinema and all 8 women deliver electrifying performances full of humour.

The film goes pleasantly over-the top with the Agatha-Christie and the 50's formula. The colourful art direction is delightful. The dialogues are superbly creative and the spacious cinematography, especially the long shots and closeups are skillfully done. The songs are rightfully set in the scene and splendid to watch. Ozon also makes some interesting references to cinema of the 50s mostly through the characters' gestures, costumes and make-up.

One does not have to be a fan of musicals or French cinema to appreciate the beauty of this film. With excellent writing, a lovely cast of beautiful actresses and lots of colour, it is hugely entertaining with loads of fun and something that I would like to revisit.

Francois Ozon directed this interesting and occasionally lighthearted film, "8 Women." It stars Catherine Deneuve, Danielle Darrieux, Isabelle Huppert, Emmanuelle Béart, Fanny Ardant, Ludivine Sagnier, Virginie Ledoyen, and Firmine Richard.

The film takes place during a winter in 1950s France where a family congregates for the holidays. Unfortunately, Gaby's (Deneuve) husband is found dead with a knife in his back. Kind of killed the holiday spirit.

Since the dogs didn't bark, it must have been someone known to the family. They can't go to the police; the phone line was cut and they are snowed in.

As they try to figure out the identity of the murderer, we learn that each woman has a secret, which is revealed during the film. They all had motives.

Could it have been Augustin, the dead man's sister-in-law, who lives with the family? How about his beautiful wife? His mother-in-law who is confined to a wheelchair? The chambermaid who, when she lets her hair down, is even more stunning? Or perhaps the housekeeper, loyal but hiding a powerful love? One of his two daughters? His own sister, who runs a brothel? The women discuss who inherits, and multiple motives for murder, and little by little, rivalries, tears, passions, infidelities, and musical numbers emerge.

Ozon has given us a look into the female psyche, and he has employed some of France's great actresses to do it. The colors are bright, the women and clothing gorgeous.

As someone pointed out, the French do not fear casting older women. Danielle Darrieux was 85 when she made this film; She is now 98 and did a film in 2010. Some French people live a very long time - I think it's the wine.

Deneuve, 59 here, is stunning, very elegant and regal. Fanny Ardant as Pierette is gorgeous and sexy, displaying dry wit and disdain for convention. Emmanuelle Beart is the insubordinate, sexually adventurous (according to her) maid who transforms herself during the film, as does Augustin (Isabelle Huppert), the homely sister-in-law. Firmine Richard, a formidable black actress, does an impressive job with the role of Chanel, the housekeeper who finally reveals her secret.

They are all so wonderful -- French women to my mind have a very earthy, worldly quality as well as sophistication. When one thinks of some American actresses in comparison, they seem like plain vanilla. It's a generalization, I know, and we do have some fine actresses, but I think the mindset of American show business is focused on youth and typecasting.

This film is enjoyable because of the cast and the look of the movie. I can't say the music was fabulous or even fit this story. It was a touch of whimsy and the upbeat tunes were fun. There were some sad ones, too. C'est la vie.

'8 Women' is a rather unique film. On the surface it is the probably only entry in the genre of the grotesque whodunit-musical. But actually, it's a huge playground - for the actresses who get the chance to play with the stereotypes attached to them, and for director François Ozon to toy with the clichés of the whodunit.

Here's the setup: 1950s. A beautiful mansion. A man is found lying in his bed with a knife in his back. The possible suspects: His wife, his two daughters, his sister, his mother-in-law, his sister-in-law, the chambermaid and the cook. As these eight women can't leave the estate or call the police, they try to find the murderer themselves. We know this situation from countless Agatha Christie-stories.

But what Ozon makes of this situation is just incredible. It already begins with the casting: Who else could play the gentrified Gaby if not Catherine Deneuve? Is there any actress who would fit more perfectly for the role of the spinsterish sister than Isabelle Huppert? Who else would you want to walk around in that dress of a chambermaid than the most desirable Emmanuelle Béart? The actresses are eagerly playing with the stereotypes that surround them because of both, the roles they played and their private lives.

Then there's the story: All whodunits have those obligatory scenes where the motives of all characters are revealed. '8 Women' takes that formula and deliberately goes over the top with it, it's characters are unfaithful, pregnant, lesbian, poisoners and many things more. And as a final twist, the film stops eight times to give each of its protagonists a chance to reveal her true character in a scene entirely devoted to them - singing and dancing. There is also another scene worth mentioning that is entirely dedicated to the actresses: A scene with a lot of dialog that entirely consists of nothing but a series of closeups - and that for about three minutes.

Cinephiles can enjoy this film on even another level: The film is filled with references to beloved classics. Consider Fanny Ardant's musical number, which pays homage to Rita Hayworth's glove-strip in 'Gilda', and another Rita Hayworth-moment so wonderful I won't reveal it here. Consider Emmanuelle Béarts hairstyle that echoes Kim Novak in 'Vertigo'. Consider the fact that the late husband of the Dannielle Darrieux character was a general, reminding us of 'Madame de...'. Or consider the painting of the young Catherine Deneuve hanging in one room - a replica of a 'Belle de jour'-poster. All this is supported by the rich, colorful cinematography, the art direction and the costumes, that give the entire film a 1950s look.

But attention: If you give this film a chance, don't expect it to be logically consistent. It isn't. But that doesn't matter at all. The murder mystery story is replaceable. The film is entirely devoted to its brilliant actresses and the wonderful, bitchy dialog they exchange. It's great fun and it is getting better with every viewing.