Mademoiselle

This is a real gem from British director Tony Richardson (The Loneliness of the Long Distance Runner, Taste of Honey) and French jailbird Jean Genet, very rarely seen, filled with eerie and wondrous black and white photography courtesy of David Watkins, whose static camera seems to peer more deeply into certain moments than should be possible, making many of the outdoor scenes in particular feel mythic and fairytale-like.

Jeanne Moreau, as the sociopathic small-town schoolteacher, reminded me very much of Isabelle Huppert in another of my favourite films, La Pianiste - there's the same cold, reptilian, but hypnotically mesmerizing malevolence, and a desire on our part to understand what can't be understood. Ettore Manni, as the immigrant lumberjack Manou, has many moments of delicate injury and thoughtful reflection amid his lusty joi de vivre that makes him a much more appealing and relatable character.

It's a very simple story, and perhaps doesn't have all that much more to tell us other than people are unfathomably strange and usually smallminded, and that evil is mundane and often rewarded when hiding in plain sight in a fragile form. And yet the effect of it all is much more, and this feels both a very modern and forward-thinking film (the long, stationary shots reminded me particularly of the movies of Michael Haneke) and a very ageless film, unmoored from any particular era - either way, it certainly doesn't feel like it was made the same year The Beatles were making Yellow Submarine.

It falls a little short of greatness because of its slightness of story and lack of cohesion - most of the English supporting cast are a little weak too - but I can wholeheartedly recommend this to anyone wanting to see beautiful cinema and willing to go for a ride into the murkier waters of the human heart.

Yes, poisonous is the main word that comes to my mind where I watch this British movie made in France in the new British cinema manner, as Jack Clayton's THE INNOCENTS was a couple of years earlier. The two stories are obviously different, but the atmosphere so close to each other. Listen to the noise of the surroundings, it is a very poisonous atmosphere, very...I can't find the adequate, accurate words. if you have also seen THE INNOCENTS, a - I repeat - very different topic, you will notice although some similarities between the two. Just notice the birds song among the trees, at night, in the right middle of this fascinating, atmospheric and sooo disturbing tale. And certainly not a fairy tale. Far from that. Jeanne Moreau at her peak. But she always was at her peak.

The legendary Jeanne Moreau stars as Mademoiselle, a school teacher, filled with repressed sexual urges, in a small French village. She finds ways to vent her desires, mostly through arson and other destructive acts.

Mademoiselle seems like a film that desperately wants to be profound. It seems like a film that wants to say something about repressing desires, and the insignificance of mankind against nature. For the most part, it fails. It is unclear whether Mademoiselle's violent actions are the product of sexual desire or simple sadism. She sets fires and opens floodgates, but is it a sexual urge? Not really, she just seems to get a kick out of watching the townspeople scramble to save their lives and possessions.

And while the film is directed with an interesting visual flair that does often capture the beauty of nature quite well, it never really achieves a level of Lean-esquire glory or magnificence. Sure, it's pretty to look at, but what's the point? The acting is also sorely lacking. Ettore Manni, who plays Mademoiselle's (and everyone else's) sexual interest, is just not very good. He often unleashes these boisterous laughs, and every time I cringed. It's not even a little bit convincing. Even the usually wonderful Moreau fails to impress here. Her performance just feels hollow. As she has proved in the past that she can be very good, I blame director Tony Richardson, who, unlike someone like François Truffaut or Louis Malle, clearly doesn't grasp what Moreau is capable of.

That's not to say Mademoiselle is a failure. There are several deeply disturbing moments, one in particular involving a rabbit. The film seems to be trying to say that all human beings can be monsters at times, and we take out our suppressed aggression on whatever innocence may be around us. Still, the film seems to lack a core of genuine emotional depth, and therefore, lacks resonance. It doesn't help that it tends to move along at a remarkably slow pace, which causes it to try the viewer's patience at times.

However, I would probably give Mademoiselle a mild recommendation, if for nothing besides the attractive visuals and the fact that it contains Jeanne Moreau.

First a warning: if you can't stomach any scenes of animal suffering, do yourself a favor and steer clear of this film.

I just saw a brand new print of this film. In all its Cinemascope glory, this is a breathtaking film, incredibly photographed and directed. And there are some incredible touches in the telling of this story.

My problems with this film derive from a few things: 1. though the goal of this film is to build a dark and compelling yarn of the simple banality of evil, there are ways that you can read this film that really undo that goal, especially as it pertains to the female character at the center of the drama and the way we're ultimately encouraged to view the impetus of her rage, 2. the town ends up being a shadow character which is effective in some ways, but it is also unsettling.

No question this is an important film that should be seen.

7.5

The film opens with nuns singing as they climb a hill. But any similarity with the Sound of Music stops there. Jeanne Moreau is evil incarnate. Like the ex-girlfriend that is love and light to everyone she meets. But only you know the truth! She is lovely. She is beautiful. She wanders the hillside like Aphrodite blessing the ground on which she walks. Each carefully observed detail of the countryside is there in her natural and engaging charm (and heightened by use of natural sound only). Gentle and sensitive. The sort of person everyone wants to know. Do we fall in love with her in the first few minutes? She picks up some birds' eggs and gently crushes them. What? Some mistake n'est ce pas? Did we really see that? Have you ever refused to believe an awful thing because a person 'couldn't possibly be bad'? A friend, a lover, a spouse even. Or the upstanding member of a community. A politician? The velvet glove. Kennedy - Vietnam. Gandhi - bloody Partition. Catholic Church - Spanish Inquisition. The super-spin smile. The well-meaning malice. The invincible persona of goodness. And in the dark it conceals what we refuse to believe.

Am I too harsh - all over some eggs? The water-lock she opens girlishly. The lighted cigarette by which things burn. Is it wrong of us to suspect her childlike innocence? See her soft lips! See her run to help you in need! Comfort you. Always there for those less fortunate.

Mademoiselle works as a typist at the police station and also as a schoolteacher. Both respectable jobs. She's an upstanding new member of the rural hamlet where things go mysteriously wrong. A chaste girl, of course. (Except when she's having sex – but if she doesn't get caught, does it 'count'?) She sweetly tells the children stories of Gilles de Rais. How brazen (for well-read viewers!).

Apart from the femme-fatale-in-overdrive aspect of this film, it is also visually satisfying in every possible way. Rampant open-air sex - in a thunderstorm - has never looked so good (or so convincing). Natural sound creates more atmosphere than an added soundtrack ever could. Dramatically, it has the long-drawn out obsession-tension of a Lady Chatterley (What is it with these woodcutters??) but with much more finely chiselled characters. While Moreau's poisoned chalice has similarities with her role in Diary of a Chambermaid, this Mademoiselle is altogether more accessible, more extreme, more downright nasty.

Some may find fault with the artistic overstatement. Or the fact that a cast of many nationalities has to somehow be made to gel. If you are turned off by the tone of it, you may even find it preposterous. But let it work its magic. Director Richardson is most ambitiously at his height of 'British New Wave,' and master-storymaker Jean Genet shines. Moreau is a monstrously formidable force. Mademoiselle is one of the most dedicated portrayals of female malice ever brought to screen. It is the femme fatale made real, and without any puritanical come-uppance to relegate her to the realms of noir fantasy.

David Watkin's (The Devils, Chariots of Fire, Out of Africa) dreamlike photography icily dramatises the charged eroticism. The Panavision lenses "drool" over the bodice-ripping element, the fiercely animalistic sex. Fellow director Richard Lester once described it to Steven Soderberg saying, "Mademoiselle was the most beautiful black-and-white film I have ever, ever seen . . . they were using different stocks which had different flare factors and different qualities of the way the blacks and greys played for each scene. You were choosing stock to make something look great. It was very experimental." It has also been described as, "black and white widescreen noir," making effective use of the large frame, often placing the characters right or left at the limits of our vision.

Some critics have gone as far as to suggest that Mademoiselle is demonically possessed. The other view is that it portrays the havoc caused by repressed passions, and in which the church is complicit. This latter, more reasonable view, is supported by a careful reading of the film. The hypocrisy of the clergy is also hinted at in moments of humour. "Some are called to a life of suffering," says the priest sententiously. To which the hard-working old peasant woman retorts, "You seem to forget that I make your bed!" Whatever your feelings, it does give a whole new meaning to the phrase, "Come when I whistle."