Betty Fisher et autres histoires

I've just seen this film at the Montreal World Film Festival. The plot is very interesting. A deranged mother and her lack of love for her daughter, the daughter and her absolute love for her son, another mother and her distant love for her own son, and a mother's love for an adopted son. Once Betty loses her child, her deranged mother kidnaps a little boy, telling her daughter that she is keeping the boy for friends who are on vacation. We seem to think that we now know the ending. False. The plot thickens and the film ends as it should : nice, smart, a bit violent but also very funny. A very entertaining film. Luck Mervil is new to acting and did a great job.

Sometimes the hardest things are so simple. A lost child is surely irreplaceable, isn't it? Well, that depends on how unconventional you're prepared to be. And if you've got no money but you're left looking after your sugar mommy's house, how to make ends meet? Depends how good a con artist you are. And if your mother presents you with a horribly unwanted gift which you can't return without getting you or her into deep, deep trouble? Maybe it will grow on you. Point of view is everything.

Three people with three problems. But that's just scratching the surface. Mothers, daughters, lovers, husbands, doctors, policemen, smugglers: all of life is here.

Adapted from Ruth Rendell's book "The Tree Of Hands", this French film presents lives less as part of a tree and more as a spider's web. A little tug here leaves a permanent distortion over there and a gap on the far side. Rarely can cinema have produced such a dramatic, amusing yet tense demonstration of the old saw "No man is an island" (though since most of the central protagonists here are female, the well-meaning but philologically-challenged PC lobby might wish for a slight re-phrasing).

With all these "Other Stories" around, there are two obvious potential pitfalls. Switch from story to story too quickly and you just confuse your audience; do it too slowly and they might fail to see the connections. Fortunately this film strikes the perfect balance; admittedly it does this by sacrificing a certain depth of character in some cases, but this simply leaves us wishing this were merely the first installment of a trilogy, or rather, chronologically speaking, the second. It would be interesting to find out how these characters got to where they are now, and, given the way that their actions have such dramatic effects on each others' lives, equally interesting to see how that spider's web changes shape in the future. Given that Betty Fisher herself ends the film about to start a completely new life, anything could happen. 8/10.

Ruth Rendell's novel, A Tree of Hands, was, as most of her work is, brooding, obsessive, and menacing. In Claude Miller's hands, the book has become altogether expatriated. It is now chic, extremely clever, and quite amoral. In short, very French. Briefly, the lives of a successful novelist, bereft of her only child who has just died in a fall, and her mad mother, intersect with those of another mother, a barmaid, who neglects and abuses her child, another little boy, and her taciturn boyfriend. The film cuts briskly back and forth between these two worlds, from the novelist's lovely house in a wealthy Paris suburb, to the bar-resto, hangout for pimps and dealers, where the other woman is employed. It is driven by the mad logic of the novelist's mother and Miller's strength is the insidious way he inveigles the audience into accepting that logic as sane. This is certainly not Rendell, but it is a lot of fun--think a tighter, tauter, altogether more stylish Talented Mr Ripley. The three actresses who play the three mothers jointly won "Best Actress" award at the Montreal Film Festival where the film had its North American premiere.

This quietly compelling entry from French director Claude Miller was strangely marketed to American international cinema enthusiasts as an edge of your seat thriller. Based on the plot synopsis (best-selling novelist loses son to tragic accident, then crazy mother kidnaps "replacement son" for grieving daughter, then kidnapped boy's unpredictable mother and criminal friends seek to get boy back) I thought this was going to be good, and weird. Instead it was great, and weird, but not the kind of weird I was suspecting. Despite plenty of opportunity to do so, Miller never exploits or sensationalizes any of the intertwining tales of Parisian misfits begotten to misfortune both accidental and of their own making. He takes a meditative, and at times cold, though ultimately intimate look at human relations and diverging theories on what it means to be a mother. The "thrills" emerge from the fact that you never know what these interesting characters are going to do next. Miller pulls no punches. There's no pounding music score, fancy camera tricks, or melodramatic theatrics. The performances are as nuanced and natural as the direction. This is a perfect remedy for those seeking respite from Hollywood thrillers.

This is the second adaptation of a Ruth Rendell book that I have seen. The first was the glossy but creepily empty and tiresome La Ceremonie, in which Claude Chabrol's visceral hatred of the bourgeoisie led him to that bloody climax. Claude Miller has done a satisfying version of The Tree of Hands, with a solid script and some excellent performances. Nicole Garcia as Betty's mother is so compelling, so dangerous in her impulsiveness and inability to see the consequences of her actions. I forgot about the stiff chatelaines she usually plays when I saw her look coolly at the little boy lying on the deck, then up at the open window out of which he'd fallen, then look again at the boy while calculating the benefit to her of the boy's death. Truly frightening.

Mathilde Seigner as the single mom whose son is getting in the way of her partying, and Edouard Baer as the gigolo who can hardly believe his luck when he sells a house that isn't his (such an engaging thief!) are both good. Sandrine Kiberlain as Betty is stronger than I am used to seeing her--she often plays bleak loners who resort to prostitution as a quick fix (A Vendre; En avoir, ou pas)--here she has inner resources that allow her to combat her crazy mother, her prying ex-husband and the police kid-hunt.

Miller has a problem that defeats him in the end: how to reconcile the demands of the plot while giving us the fully-realized characters. The end is rushed--I don't blame him for this--and serves to tie up loose ends only. If A and B are shot, then C can make a get away. Still, for the acting, it's one of the best noirs of recent years.