Le beau Serge

...This first effort ,made on a shoestring budget ,actually belongs to the old directors school and would not be out of place in ,say ,Duvivier's or Clouzot's brilliant filmographies.It even recalls Italian neorealism sometimes.Anyway,among all the directors of the otherwise a bit overrated new wave,Chabrol is the most accessible,the most palatable, particularly for those ,like me ,who do not give a damn about ,say,Rohmer or Godard.The depiction of the Bourgeoisie which will begin with the follow-up "les cousins"(with Brialy teaming with Blain again) and will become Chabrol's trademark is absent here .Laffont is the only pure new wave actress :Brialy used to work with the "old "guard as well,and Blain 's career really began with Julien Duvivier's unfairly overlooked and sensational "voici le temps des assassins"(1956).

The story is linear,with a lot of characters and a dash of melodrama thrown in -which is by no means new wavesque-.The rural milieu depiction will pave a reliable way for the highly superior "le boucher" (1969).There's also a tendency to dwell on the sordid side of life.Outside the good cast,two scenes in a graveyard are impressive.

Born in 1930, this contemporary of Jean-Luc Godard, Francois Truffaut and Eric Rohmer really was, like them, a vital part of the French "New Wave"...if only to have helped usher it in via a neo-realist approach. This is Claude Chabrol's first film and it launched him on a career that spanned 40 years and included mostly thrillers, often inspired by Alfred Hitchcock. Other of his notable works include LES COUSINS (1959), OPHELIA (1962), LE BOUCHER (1969) and MADAME BOVARY (1991) An "enfant terrible" and a genuine eccentric, he approached the making of this first film in a way that would later be identified with the "new wave" movement. He used mostly inexperienced actors, crude editing, lots of location filming and imbued it with a sense of spontaneity. Focusing on content over style allowed him to carve out a distinct piece work that is both compelling and a fine study of human nature. From opening shots of pensive lead actor J.C. Brially* riding a bumpy bus into his childhood town to the powerful closing shot of Gerard Blain shocked into sobering up, this film will have you looking at LE BEAU SERGE with adoration. *(Catch Brially starring in one of the finer French horrror films made; LE DEMON DANS L'ILE)

In France, François Baillou (Jean-Claude Brialy) returns to his village to spend the winter as part of his treatment of tuberculosis. On the arrival, François sees his former best friend Serge (Gérard Blain) and greets him, but Serge is drunk and does not recognize him.

François learns that Serge is a frustrated man since he had not gone to the Architecture University and has stayed in the village working as truck driver since he had to marry his pregnant girlfriend Yvonne (Michèle Méritz). When the baby was born, he was mongoloid and died. Now Serge is the drunkard of the village.

François meets the seventeen-year-old Marie (Bernadette Lafont), who is the slut of the village, and he feels attracted by the teenager. Meanwhile he tries to help his friend.

"Le Beau Serge" is the debut of the great French director Claude Chabrol that shows his talent to tell a simple and realistic drama. The performances are top-notch and the open conclusion is a trademark of Chabrol. It is weird to see a man treating tuberculosis smoking so many cigarettes along the story. My vote is seven.

Title (Brazil): "Nas Garras do Vício" ("In the Claw of the Addiction")

Note: On 21 November 2024, I saw this film again.

This is such a low key film, watched today, especially considering its importance in world cinema, being Claude Chabrol's first film and the film that is considered to have set off the Nouvelle Vague. It seems especially ordinary when compared to Godard's A Bout De Soufflé and Vivre Sa Vie, but then these were from 1960 and 1962, two and four years after this breakthrough film. Although this film is not city set and street wise, still harbouring melodrama and some theatricality it is not set bound, is made entirely within the village using the inhabitants within the drama and contains some bold camera-work, including long tracking shots and dynamic close-ups. It is also about the people we are introduced to, there is no historic event being reconstructed or alluded to, this is the here and now. Jean-Claude Braly plays Francois, the young man returning to the village after 12 years apparently a wiser man and Gerard Blain plays his old chum Serge who he feels could have done better for himself. Some great snow scenes at the end round off a thoughtful and involving piece.

Excellent film, does anyone else see similarities to Cat on a hot tin roof, and a number of southern Gothic references.....I read more than I probably should, sham loveless marriage , first child conceived by perve father, Francois and Serge maybe shared more than society would allow, Village priest, hmmm.Beautifully shot and so poetic, Chabrol's most sincere and honest.. just saying....Strong characters that have a grand noble purpose. Not at all apologetic and a testament to faith and hope in a futile, provincial and incestuous post war Europe. You feel their hunger and desperation. So revealing a film, yet it left so much unanswered. Post war French cinema is timeless and classic.