Le beau Serge

This film is considered to be the first film of the French New Wave film movement, preceding 400 Blows, Hiroshima Mon Amour and Breathless. I don't think you can put this film in the same category as those films. This film is a straight up conventional narrative about Francois who travels back to his hometown after 12 years, looking for a peaceful, restful place and recuperating from a lung infection, he finds that the people he once knew are all in dire straits. They are poor, provincial and cant seem to get out of their rut in this small town, the town Chabrol grew up in. Watching this film I didn't quite know in which way it was headed. The acting is superb and I really felt like I was in that small town with these people. Francois former friend turned alcoholic Serge turns in a convincing performance of drowning ambitions. This film was meticulously put together and the moving shots were intelligently fluid and effective. Unlike what other reviewers have said, this does not feel like a film from a first-timer. I have only seen Chabrol's last two films, Inspector Bellamy and A Girl Cut in Two and they were masterful in execution and i expected this one to be weaker but i was delightfully surprised. It holds up really well and I even think modern American audiences would enjoy this film about sacrifice and reformation.

...This first effort ,made on a shoestring budget ,actually belongs to the old directors school and would not be out of place in ,say ,Duvivier's or Clouzot's brilliant filmographies.It even recalls Italian neorealism sometimes.Anyway,among all the directors of the otherwise a bit overrated new wave,Chabrol is the most accessible,the most palatable, particularly for those ,like me ,who do not give a damn about ,say,Rohmer or Godard.The depiction of the Bourgeoisie which will begin with the follow-up "les cousins"(with Brialy teaming with Blain again) and will become Chabrol's trademark is absent here .Laffont is the only pure new wave actress :Brialy used to work with the "old "guard as well,and Blain 's career really began with Julien Duvivier's unfairly overlooked and sensational "voici le temps des assassins"(1956).

The story is linear,with a lot of characters and a dash of melodrama thrown in -which is by no means new wavesque-.The rural milieu depiction will pave a reliable way for the highly superior "le boucher" (1969).There's also a tendency to dwell on the sordid side of life.Outside the good cast,two scenes in a graveyard are impressive.

The film that officially kick-started the "Nouvelle Vague" (interestingly, Chabrol was the only one in that talented crowd to have debuted with a full-length feature and self-financed to boot!) is, surprisingly, an "Angry Young Man"-type drama in a pastoral setting. The radical technique associated with this school of film-making is not really in evidence in this case, but nor is it needed – given that what we have here is essentially a character-driven piece.

In this respect, apart from the director himself (who also wrote the film on his own), the film brought in an array of fresh talent in front of the cameras as well – namely Gerard Blain (evoking Montgomery Clift in particular), Jean-Claude Brialy (restrained in comparison to his other work for Chabrol that I have watched) and the waif-like Bernadette Lafont (already effortlessly exuding carnality in her second film – and the first of 7 with this director – she was also married to her co-star Blain at the time).

Chabrol's realistic depiction of provincial France here, authentic both in the everyday detail of the locale and its characters' foibles (Blain is a hopeless drunk, Lafont is raped by her 'father', etc.), actually makes the much-later THE HORSE OF PRIDE (1980) not the odd-film-out it had at first appeared! One other atypical element is that of spirituality – especially when, towards the end, Brialy determines (albeit predictably) to reform Blain almost at the cost of his own life during one particularly blizzard-ridden night in which his friend is supposed to become a father!

By the way, Chabrol gives himself a cameo in the film: with him appears assistant director Philippe de Broca (whose character is named Jacques Rivette, after another "New Wave" exponent, obviously!); unfortunately, the subtitles – in a small white font – were especially hard to read during this scene.

Suffering from a bronchial infection, Jean-Claude Brialy, a young Parisian, seeks convalescence in his home village in the Creuse, where he hasn't set foot for 10 years. There he meets up with his former friend, Gerard Blain, who, despite a brilliant adolescence and a bright future, has ended up in a drunken stupor after his marriage. The first film by Claude Chabrol, who launched the New Wave with this bitter account of rural life, perfectly constructed, and served with the talent of Jean-Claude Brialy and Bernadette Laffont.

Questionably considered the first entry in the Nouvelle Vague, or French New Wave, movement, Claude Chabrol's debut feature serves more as a precursor to the highly influential approach to film- making. While Francois Truffaut and Jean-Luc Godard broke new ground and had surprising international success with The 400 Blows (1959) and A Bout de Soufflé (1960) respectively, Le Beau Serge still retains a classical feel. Still, Chabrol's self-financing, on- location shooting, unorthodox editing and the use of non- professional actors proved to be highly influential to the Cahiers du Cinema crew and the first of its kind.

After more than a decade away from his home town, city boy Francois (Jean-Claude Brialy) returns to Sardent for the winter to rest and recover from a recent bout of life-threatening illness. Upon arrival, he notices that the place has barely changed but is oddly deserted, with only a handful of his old friends and acquaintances remaining. One who has remained is Serge (Gerard Blain), Francois' former best friend. The man once dubbed 'handsome Serge' has now been reduced to a bitter alcoholic, trapped in an unhappy marriage with Yvonne (Michele Meritz) who he blames for the loss of his child. Finding himself now at odds with small-town life, Francois still feels compelled to help his old friend.

Despite the odd flash of New Wave characteristics, Le Beau Serge shares more in common with the Neo-Realist movement in post-World War II Italy and the 'angry young man' films that would pepper Hollywood throughout the 50's. Chabrol, who grew up in Sardent, captures the crumbling town with both nostalgia and sadness. While obviously fond and whimsical of such a life, Francois' character feels oddly isolated in the town he once called home, unable to understand how accepting its inhabitants are of their inconsequential existence. The narrative drags in places, but this is both a funny and powerful film, especially if you hail from similar small-town beginnings. Chabrol would build his career on thrillers, but his debut shares a sensitive and socially insightful side rarely seen from the director.