La demoiselle d'honneur

Having read the book 'The Bridesmaid', I was gratified that this film was a very good representation of it. It kept close to the story and did not alter anything. Even though my image of Senta as she is portrayed in the book was different to that of the one in the film, it didn't matter as her personality was accurately portrayed - indeed, all the characters were excellent. Benoit Magimel was exactly how I imagined the main character, both in looks and behaviour.

The impact of the events would have been greater to those who haven't read the book (ie I knew what was going to happen) but I found it satisfying and would highly recommend this film.

Ruth Rendell's plots are so clever, with a twist in the tail, and it is important that a film captures this, and Chabrol manages it perfectly.

At his sister's wedding, a young man falls for a bridesmaid who harbors some weird ideas and may have a disturbing past. Chabrol is regarded as the French Hitchcock, and this film has some parallels with "Strangers on a Train," but it's not as taut and suspenseful as that classic. Chabrol here seems to be more interested in character development and relationships than in the plot. In fact, between a slow beginning and an unsatisfying ending, what little plot there is is rather predictable. However, it manages to be engaging despite these shortcomings. The pacing is leisurely but not boring. It has a good cast.

I really like the books of Ruth Rendell, some under the pseudonym as Barbara Vine and she had published some 80 books. Claude Chabrol I also like and he had made something like 60 films, some of them wonderful. He made a couple of his of Rendell's, the first one was The Ceremony (1995) a great film made out of, A Judgement in Stone. Later on, this film was made in 2004, and from her's of the same title. The book is fine but unusually with Chabrol in this one I'm not sure he really gets it quite right here. It is a bit complicated and a rather odd tale and I think he wanted it to be amusing as well, but maybe it wasn't a good idea. It is interesting but with the stone head with bed, the candles and no people, and some dead but not dead, maybe it is just too much going on.

Claude Chabrol still has it in him to craft a relationship drama with trust in the dark corners of the characters, and make it seem reasonably realistic. He's working from a novel by Ruth Rendell (and I can only guess how much more detail there is in there compared to here), but it feels like vintage Chabrol, with some updates for technological bits like cell phones, as he takes a romance to very peculiar, twisted lengths that somehow the audience buys completely because of the characters and the actors playing them. In The Bridemaid he opens on Philippe (Magimel), an accountant of some sort who has a kind but mixed-up family that's getting ready for Philippe's sister's wedding. As if in a slight update on Le Boucher, Chabrol has the set-up at the wedding for the two main players, as Philippe meets bridesmaid Senta (Laura Smet), and after the wedding she arrives at his house, drenched in rain, and they have a lustful encounter.

It's pretty close to immediately after this that Senta confesses her love for him, unquestionably, as if she knew it totally on first sight, and that now he is her's and so on. Upon this one might think, sarcastically, 'this can only end well', as love at first sight, save for a Disney movie, always leads to trouble. In this case Senta is adamant that Philippe, despite also confessing his love (however true or not is a curious part of the Bridesmaid I wasn't sure was a character flaw or a flaw in the story), "prove" his love for her. This includes two easy things and two out-of-the-question: plant a tree, write a poem, kill someone, and have sex with the same sex. Although Chabrol doesn't touch on that last one, the 'kill someone' part becomes the juicy angle to the story, as one is on edge if someone is really dead or how Philippe will play the next move, and how blinded by this obsession Senta has with Philippe.

And yet Senta's obsession isn't seen as something with hysterics or over-the-top acting. Far from it, and characteristic for a Chabrol film, Smet's performance is precisely subtle and kind and intelligent and all those things that reel Philippe in against all better judgment. It's an inspired turn by an actress (excuse me, 'actor') who I hope to see more of. Same goes for Magimel, who is the 'hero' of the story as the good guy who wants to be there for his mom and troubled younger sister, but also has this strange attraction to Senta that soon pits him in an untenable (or so he thinks) position. As far as that central storyline goes between Senta and Philippe, it's gold and cool and as good as anything Chabrol did in the late 60s and 70s, with sweet hints of the erotic thrown in from time to time.

The only downsides are, naturally, some disbelief with Philippe early on, or in the initial appearances of certain twists, and especially how we're meant to put some extra stock in Philippe's family troubles (mainly Patricia as a petty thief) that aren't well developed and works mostly to show how his family is as firm, warm counterpoint to Senta's clinging and desperate 'love'. But aside from this the fan of Chabrol whose been tracking his career for however long it's been going (since the late 50s early 60s with the other Cashier du cinema team) will hopefully be pleasantly surprised to know he's still got it in him to make compelling, dramatic cinema, with the usual Hitchcockian angles amped-up to a certain sinister, and ultimately tragic, glee. 8.5/10

This is a very good Chabrol movie. To me, probably his best since "Merci Pour Le Chocolat". The "atmosfear" was captivating, the script well written. The casting is great. The sets were mysterious (the old castle, for example). Well, to make a long story short, if you like Claude Chabrol's suspense movies, please, do yourself a favour and watch this one. Much better than the previous one, "La Demoiselle D'Honneur", was, I think, innovative enough to mark the mind of even his (Claude Chabrol's) long time fans in the deepest way. If he's physically getting old, as we all do, Chabrol's mind is still very sharp and a joy to explore. In a word, the French Hitchcock is back in top form ! May be the Ruth Rendall background of this movie gives it its best aspects. "La Demoiselle d'Honneur" is a kind of child-movie to an older Chabrol's masterpiece called "La Cérémonie".