Poulet au vinaigre

Poiret worked with Michel Serrault on several films, and wrote the script for La cage aux folles, one of the most successful French films of all time. He's a veteran in the industry, so Chabrol must have figured Poiret could improve the box-office figures for this tight little noir. Here again, Chabrol is condemning the provincial bourgeoisie for all the venality and murderous lust they're capable of.

Poiret doesn't disappoint. He's very rough with some slimy characters in this small town; it's fun to watch him dunking the lawyer's face in the sink full of water as he cheerily goes through the interrogation. He's a lot more fun to watch than Clint Eastwood ever was. The expression "pince-sans-rire" could have been invented to describe this actor.

The first half of "Cop Au Vin" is kind of muddled, and even borderline dull at times: lots of characters and backstories are thrown at you as if you're supposed to know them already (you may need a second viewing to take it all in). Things start to get more interesting when a vengeful prank misfires into something much worse, and then get even more interesting when Inspector Lavardin arrives on the scene. Lavardin is like a strange cross between Hercule Poirot (in his eccentricity and intuition), and Dirty Harry (in his unorthodox and occasionally even violent methods of investigation and interrogation). Another character I really liked was the hero's girlfriend (played by Pauline Lafont, who tragically died in an accident only three years later): every boy should be so lucky to get his emotional / sexual maturing via such a beautiful, affectionate and playful girl. The (good-looking and well-acted) movie ends with a couple of Agatha Christie-type twists: two of them blindsided me, but the one about the mother (Stephane Audran), for some reason I suspected it from the beginning. Leonard Maltin gives this ***1/2 out of 4 stars, but IMO he's overrating it; I'll give it **1/2.

An early scene in "Cop au Vin" (or "Poulet au vinaigre") features a petulant Mommy's boy, a domineering mother and a cellar. Sound familiar? However, this is Chabrol and not Hitchcock though you may say that's the next best thing. "Cop au Vin" may not be in the front rank of Chabrol movies but this excellent account of typically well-heeled Chabrolians doing nasty things to each other will do very nicely indeed.

Naturally Stephane Audran is here; she's the domineering mother, this time confined to a wheelchair, and about to be evicted from her home by those nasty rich people. Lucas Belvaux is the petulant son and others in the cast include the wonderful Michel Bouquet, Jean Topart, Pauline Lafont and Jean Poiret as the very unorthodox inspector brought in to investigate a couple of mysterious deaths. There may not be anything profoundly engaging or even particularly memorable about the picture but it remains a highly enjoyable thriller and is certainly no disgrace to the names of either Chabrol or his mentor, Mr Hitchcock.

I've seen a handful of Chabrol films and have so far been impressed with all of them. This film is my first experience of Chabrol's work in the eighties and while I'm not surprised at the fact that it gets lambasted by some; and it's not quite up to the great French director's previous high standards, personally I found this to be yet another great example of Chabrol's moody and brooding direction coupled with an interesting plot line and some good performances. The plot is not quite as deep as the ones seen in previous Chabrol films, but there's still plenty to chew on. The base of the story is Madame Curo and her son Louis. They live in a house that is wanted by two unscrupulous people in the village, but what they don't realise is that the son can read their mail, owing to the fact that he works at the post office - which gives them an advantage. The plot kicks off properly when Louis puts sugar into the tank of one of the men's cars, which soon results in a fatal car accident. After the disappearance of the other man's wife, a hard nosed police officer is brought in to investigate.

This film has one of the strangest titles I've ever heard of - 'Poulet au vinaigre', translating literally as "Chicken with the Vinegar". Quite what that means, I have no idea. The film has a fair few different plots going on, but the one that Chabrol seems most interested in is the one surrounding Louis, who finds himself in the middle of a "war" that is a bit too big for him and has to deal with his needy, sick mother at the same time. The murder investigation does provide the film with one of its main narratives; but since it doesn't kick off until we're halfway through, it's clear that it wasn't Chabrol's main concern. The acting is very good all round, with Lucas Belvaux making a convincing lead and getting good support from Chabrol's ex-wife and regular muse Stéphane Audran, Jean Poiret; who is excellent as the formidable police officer and my personal favourite, the exquisite Pauline Lafont as the love interest. Chabrol seems to have a thing for ending his films abruptly, and that is the case here as while everything is wrapped up by the end, it is done in a matter of about five minutes. Overall, it's not hard to imagine why this film isn't as well liked as some of Chabrol's other work - but for my money it's still a more than worthwhile thriller and comes recommended.

It is true that Chabrol loosened his grip after 'Les Innocents Aux Mains Sales', possibly horrified by his own insights. This is probably a shame; but the light, comic mysteries and thrillers he has largely produced since are by no means negligible, always entertaining and full of Chabrolian irony and motifs. In this film, believe it or not, he seems to believe in the God of marriage. Normally that venerable institution is the site in Chabrol of repression, a (usually literal) stifling of humanity, a closed, rigid world not too far from hell. With the relaxing of his style comes a relaxing of his world view.

As ever with Chabrol, a young man is being emotionally strangled by his mother's dependence, her emotional paralysis somewhat unsubtly figured in her being crippled. Although the title punningly refers to the detective, and the film is nominally a mystery story, Chabrol seems more interested in his rites-of-passage narrative - the detective doesn't make his first appearance for forty minutes, and doesn't dominate the movie until the last third.

It would be wrong to claim that this is Chabrol in 'realistic' mode, but he certainly gets a sense of a rural town community, its unexpected connections, the malicious schemes of its most respectable citizens; pure soap opera, maybe, but the idea of a society turning in on itself, almost incestuously, is convincing. Louis Cuno is the unexpected centre of the town's secrets, a sullen, gangly, lovestruck teenager, but as postman he connects as no-one else can, betraying his civic trust as he takes home to his mother incriminating letters to peruse, as a defence against plans to demolish their property, destroy their home.

Chabrol usually deals with the threat to the home from within; the extending of focus here, leads to a more relaxed film. Because the film focuses of Louis, whose not always legal actions are treated indulgently by director and detective alike, the other characters are more shadowy, more like caricatures, minimising the mystery, making its potentially horrifying conclusions somewhat perfunctory. Chabrol doesn't let his hero off too easily, as we suspect Louis is exchanging one mother for another; his initiation into the delights of sex is in the grounds of a country house, a typically Chabrolian green space blighted by the surveilling eyes of the detective.

Spying is one of the main themes of the film, from the camera taking pictures at the beginning, to Louis' nocturnal amateur detective work. In such a community, private and public space are not so clearly marked, and one's identity is as much defined by one's public role (doctor, butcher etc.) as by any personal merit, so there is something creepy as well as comic about this police (the Law) spying on the sexual act.

There is something creepy about this policeman, anyway. Unlike the rooted, defined villagers, he is a rootless stranger, without motive, personality, role, except to solve the crime (he keeps insisting that he is the 'flic'), in order to do which he resorts to alarming thuggery, even more objectionable than Harry Callahan, whose heart at least was in the right place. Don't be fooled by Chabrol's autumnal cheerfulness - this is a vinaigre with a very bitter aftertaste.