Chair de poule

CHAIR DE POULE is not one of Director Duvivier's finest works, but worth watching all the same.

It starts very strongly, with Hossein and Sorel surprised by the early return of the homeowners during the commission of a robbery. Sorel kills the owner but Hossein is the one who gets shot by police and bundled into jail for 20 years, although his first is spent in a sanatorium due to a bullet in the lung. Guess what? The innocent Hossein, who had never intended to be involved in the robbery in the first place, manages to break free thanks to police negligence.

Just as he did not utter a word about Sorel to police upon detention, so he moves quietly out of circulation without any ill feelings. He comes across Thomas, who owns a diner cum gas station well out of the beaten track - and a sizzling bombshell of a wife (Rouvel) to boot.

That he is immediately interested in her is obvious, but he is too loyal and respectful of Thomas to make the first move. No such worries for Rouvel, though: even as she hugs her hubby she gives him the big come on. And so begins a part of CHAIR DE POULE reminiscent of THE POSTMAN ALWAYS RINGS TWICE.

But things begin to go wrong when Thomas' brother comes around to pick things for free while the sibling is away. In fact, Thomas' brother is probably the most perfidious low life of all the low lives on display in this very noir film noir. Hossein makes an enemy out of him and from that point on things begin to go awry for all concerned.

I think the off camera killing of Rouvel lets the movie down. It is sprung on the viewer without any explanation, and the ending is a bit of a mess. Even so, CHAIR is interesting, a typical 1950s film noir shot in 1963. I think it would have gained from a better trinity of leading actors - say, Belmondo, Trintignant and Moreau; or Montand, Ronet and Lafont - and a better script.

Despite its flaws, it is well worth watching - especially the first 90 minutes.

I re read the Chase's novel ten days ago, so I will be able to compare. I rememeber that, back in 1978, I already read the book whilst watching the film, then aired on a French channel. I read in real time, in front of the TV set and the film, scene after scene. I got great and strange feeling to match the book and the movie...I never tried the same experience again. Anyway I did not do it during the whole ninety nine minutes. That said, this is my second or third viewing and an still satisfied, very close to the book atmosphere. Robert Hossein was hired for another Chase's novel adaptation: MEFIEZ VOUS FILLETTES. Bleak, downbeat, as in many Chase's novels. My favorite's Julien Duvivier's film.

A plot thickens in the middle of nowhere in the south of France in the 60s.

The atmosphere is thrilling, with humorous scenes, moments of sexual tension and gangster action.

The soundtrack is astonishing, creating a tension on the edge of your skin through exaggerated sound effects or underlining surreal situations with crazy music.

The actors are just perfect.

A Duvivier masterpiece worth rediscovering, notice his sense of drama staging the American night, framing these lost places: a garage-restaurant night and day, chases on a mountainside... In short, a zigzag story full of twists and turns!

In France ,nobody did film noirs like Duvivier.They say he invented the genre with his "Pepe le Moko" (1937).Duvivier's films noirs are as pessimistic as it can be.His characters are pitiful at best or evil.All along his brilliant career,from "Poil de Carotte" to "La fin du Jour" to "voici le temps des assassins",Duvivier was the poet of the blackness of the human soul,he used to paint the inmost depths of greed and perversity.Chabrol has sometimes equaled him ,never surpassed.Along with Clouzot,he reigns over the French film noir.

"Chair de poule " :those were the days of the Nouvelle Vague and Duvivier's work was dismissed as cheesy "cinema de qualité".Those were the days.But Duvivier's work survived.Hadley Chase's book resembles "the postman always rings twice" but Duvivier manages to take its noir side to new limits.In Cain's work,love did exist between the two leads.Here greed ,rapaciousness.Nothing else.Welcome to Duvivier's world.

As I wrote above ,Duvivier's characters are either pitiful and meek (Daniel,Thomas) or pure evil(Maria,the old man and his ugly offspring ,Paul).The odd couple (the not-so-handsome hubby and his sexy wife) was already in "Voici le temps des assassins"(1956).The only living being we can trust seems to be a dog ,an animal that plays an important part in both movies.Maria (Catherine Rouvel) recalls often Catherine (Danielle Delorme) but her sensuality is more aggressive .

Duvivier 's directing is perfect :he treats one of his scenes like a true western:"this is the Wild West" Paul says while entering the eating-house.And Rouvel ,trying to learn the combination of the safe from a wounded Hossein,reminds me of Von Stroheim's "greed". Duvivier avoids all the easy way outs ,all the Hollywood tricks, and his movies are among the few we can call "genuine" film noirs.The last part,which drags all the characters towards doom,culminates in an apocalyptic scene ,with the final pictures depicting Hell's antechamber.

Although not looked upon as one of Duvivier's best,"Chair de poule " was great ,coming from a sixty-something who had perhaps never made a truly bad film.

A remake was filmed in Thailand.

Even though every day, you may walk past countless hordes of folk, you may even interact with a huge number of people, often-times in this era, and definitely in my time and place, and in the movie, one's psychological community, the people you have substantial interaction with, is less than a handful of people, and in the end maybe you are simply alone. I think that's brought out by the location of Chair de poule, the "relais du col", an isolated service station high in the mountains. People pass through all the time, but they're customers, cruel and spoilt (I can testify to the bad behaviour of people passing through service stations, having worked at one during my university holidays). So the horde just want things from you, but here so do your "intimate" associates. Like many french crime films of the time, Touchez pas au Grisbi (1954), being an example, or actually all of Jacques Becker's great movies, the prospect of male friendship / solidarity is tantalisingly present and seen as far more fulfilling than romantic love. It's perhaps the only escape in a cruel world. The movie's beautiful scenes are when Daniel (Robert Hossein) and Thomas (Georges Wilson) meet on the col road. A particularly wonderful and wistful tune by Georges Delerue plays here. Later, when the crapola has contacted the proverbial rotary device, a trumpeter on a passing coach-trip is there to taunt Daniel, with another wistful tune, this time mockingly so. Duvivier's is a cruel eye.

I deliberately didn't start with the a plot outline, because it's the psychology, symbolism, and the atmosphere of the movie, rather than what's a rather generic plot that is what it's all about. The plot is, as has been pointed out, a simple noir one of ordinary people being tempted by crime, the middle section has elements of The Postman Always Rings Twice (overtly, and also covertly - there is commentary on where lust ends and love begins). Chair de poule does rise above cliché, and you can genuinely feel how stifled the two Parisian friends, Paul and Daniel are. How long can one stand in the cold? Women aren't perhaps as misogynistically portrayed as in many noir. Throughout the movie men are controllers of safes, from the initial mark, a rich man whose safe is up for robbing, and who therefore counts far more beautiful women as habitual accessories, to the proprietor of the relais du col, and Paul and Daniel, who hitherto worked in a safe-makers factory. It's a world defined by men, where every woman needs a man. Daniel's warm words about Thomas to his wife are instantly sneered at for being a, "man's opinion". Ultimately Maria (Catherine Rouvel) is a character that can be sympathised with, a character with a back story, neither an angel nor a harlot, but a woman. She is still with us and acting in movies at the time of writing! Her face at times in the movie reminded me of a cheetah's at points, she comes across as wild but snared in the world's man-trap.

Top marks for pure villainy go to Lucien Raimbourg as Roux, who had all the shameless rapacity of that great French character from Les Misérables, Thénardier.

Chair de poule is darkly satisfying.