Le colonel Chabert

Award winning cinematographer Yves Angelo makes his directorial debut here with this adaptation of one of the novels that make up Honoré de Balzac's monumental 'La Comedie Humaine', a 'natural history' of post-Napoleonic French society.

Not a few cinematographers have tried their hand at directing with decidedly uneven results but Angelo does a first rate job here and has the blessing of an exemplary cast.

It concerns an army veteran, long presumed dead, who returns in the hope of regaining his fortune, his status and his wife. A former prostitute, she has since become a Countess and is unwilling to jeopardise the social position she has acquired with his money..........

This is in fact the sixth film adaptation of Balzac's novella and the character of Colonel Chabert has been played most notably by Werner Krauss, Raimu and Vladislav Strzhelchik. At the time this current version was made there was surely no French actor around with box-office power who was capable of following in their footsteps other than Gerard Depardieu whose performance is utterly mesmerising. Not for nothing has he been referred to by Yves Montand as 'THE actor of his generation.' Playing the morally ambiguous Comtesse Ferraud is the wondrous Fanny Ardant with whom Depardieu made 'The Woman next door' thirteen years earlier and once again their scenes together are riveting.

André Dusollier as Comte Ferraud is as always good value and the characterisation of the lawyer Derville by Fabrice Luchini is well-drawn although his mannered delivery can be rather tiresome.

As with all of Balzac's novels the multi-faceted characters live and breathe whilst the theme of how a hero of War can become an outcast of Peace is tragically timeless.

Whilst this film is not a classic it is absorbing and at times distinctly unsettling. Rather than use a specially composed score Angelo has cleverly used classical pieces notably Schubert's final piano sonata and Beethoven's trio of which the title 'Ghost' is singularly appropriate to Chabert's reappearance as if from the dead.

It has first class production values and continues the superlative tradition of costume drama at which French film-makers excel.

This film will be variously be described in critical summaries as either a historical drama or dramatic tragedy. It is neither. It is a profoundly unsettling ghost story, as luridly horrifying as any classic film of the supernatural. It left me contemplating the permanence of loss that fate can decree for an individual as well as with an image of death more chillingly authentic than anything I have ever experienced in film or print.

Our "ghost" is one Colonel Chabert, a seedy and unpleasant vagrant who materializes in the streets of post Napoleonic Paris to solicit the services of a deliciously clever lawyer to legally prove his identity and therefore claim the legacy of his once considerable estate. 9 years previously, the Colonel had been mistaken for dead after the bitter winter battle of Eylau in 1807. Stripped naked and buried in a mass grave with hundreds of others, Chabert managed to claw his way out of the grave and recovers with the aid of local villagers. Now, after nine years of poverty and semi lucidity {brought about at least partly by the grievous head wound he received which has never fully healed} he has returned to find his wife remarried and his fortune being used to keep her in comfort as well as financing her new husband's political ambitions. It is this bleak situation that has him seeking out a smoothly Machiavellian lawyer who also happens to be his wife's attorney. The brilliant machinations of this lawyer will put the long suffering Chabert within reach of his goal, yet will also raise in his mind and ours a disturbing question: Did Chabert cheat deaths physical grip, only to realize ultimately that it had swallowed his soul, his very being, everything that made Chabert Chabert, and leave him with ethereal memories and an empty husk of a body? I will let the viewers of this film come to their own conclusions about that question.

To make such an emotional impact, most everything about a film must click in just right and this is no exception. The performances are no less than brilliant. Fanny Ardent hits all the marks as Chaberts scheming yet all too human wife. Fabrice Luchini almost steals the show with his searingly precise depiction of the masterly lawyer Derville. As for Chabert, Gerard Depardieu's is a pure manifestation of brilliance. An acting coach could probably break down his performance into instructive segments illustrating how to truly engender character thru subtle juxtapositions of gesture and voice. As an audience though, you never once think about what a great job Depardieu is doing, you are too interested in where he is going to take you next. A strong cry of "Auter!" also to Writer Director Yves Angelo for his sure handed story telling and a "Bravo!" to the exquisitely rich lensing of Bernard Autic.

If you start watching this film and feel my term of "Ghost story" is inaccurate, be patient and wait for the late night first interview between Chabert and Derville. Listen to Chabert describe the sensations of death. And then try to sleep well that night...

This is an unfortunately unrecognized classic.

The look is superb, the design, costumes etc are flawless, the post battle scenes and the cavalry charge are both chilling and exciting.

The characters are vivid and really human. Ardent is right and Fabrice Luchini as the lawyer Derville steals the movie with his clever pedantic rodent-like performance, delighting in the ups and downs of others' misfortunes. Depardieu is good but perhaps too large a presence for this role.

Where the film really excels is the story and also its changes from Balzac's novella. Those changes are editorial in that Balzac has lots of discussion on society and this film breaths with characters. Nevertheless Yves Angelo has retained the key ingredient, not just the missing man trying to regain his place in society but every character has to find their place in society: the Comte Ferraud is trying to buy a peerage, his wife (Ardent) comes from a lowly birth and when she was married to Colonel Chabert they achieved their position in the turbulence of post-revolutionary France. Everyone has something to lose in terms of status and that makes for a good drama as their objectives are in conflict with each other.

It also feels very modern: money is critical to buy status to reach power, but someone can go down as quickly as they go up. Derville enjoys the strategy, he has seen the worst of people he says to Chabert when he takes the case. This speech's original place is at the end of the novella as Balzac sums up the human comedy with huge irony.

The French movie Le colonel Chabert was shown in the U.S. as Colonel Chabert (1994). Yves Angelo directed it. It's the story of a brave, highly decorated cavalry officer in Napolean's army, who is left for dead on the battlefield. He leads a horrible existence for ten years, until he finally manages to return to France. In his absence, his wife has remarried, and now has two children. She also has all of his fortune. Who is going to believe Chabert's story's? Chabert finds someone who believes him. It's the almost superhuman Attorney Derville. The problem is that Derville is also the attorney for Chabert's former wife.

Gerard Depardieu plays Colonel Jabert. He is a consummate actor. We know it and Director Angelo knows it. Fanny Ardant is the former wife. When she's on screen, you can't take your eyes off her. She isn't beautiful in the classic Hollywood way; she's beautiful in the French way. She has strong features that tell us that she's competent and capable. When Chabert asks Derville to describe her, he uses just one word--superb.

Believe it or not, I think the best acting is displayed by Fabrice Luchini as Derville. His part is complex, because Derville is an unlikable character. He's snobbish, arrogant, and absolutely certain about his professional talents. Luchini becomes Derville. It's worth seeing the movie just to watch him act.

We saw this movie on the small screen. (Actually on--gasp--VHS.). It worked very well. Colonel Chabert has a so-so IMDb rating of 7.0. It's better than that. Find it and watch it.

Most of other reactions by subscribers to this service were very apt, although that some found it slow or ambiguous puzzled me. Rather than ambiguous, it was complex and multi-layered in its meanings. One can see it as anti-war, because of the opening and closing scenes, and the folly of pretended grandeur, as how wonderful the cavalry men looked as they prepared for the great charge at Eylau, contrasted with its so horrible and disturbing conclusion, when we see the bloody uniforms, the boyish dead, etc--but chiefly, I see the film as about a moral man in an immoral society. At the end Chabert chooses retreat from the corrupt post-Napoleonic French world and opts for the simple pleasures provided by Derville (who himself is saved by his recognition of Chabert's basic decency and the morality of his choice of renunciation)--white bread, cheese, some wine and tobacco--over the riches he leaves to his wife, and her and society's dishonor. In her case, we can see the film as also feminist, in the position of women at that time, in which the only weapons Mme Chabert has are her charm, beauty, wiles and, ultimately, money.