Betty Fisher et autres histoires

Look at the French title. "Histoire" means story and, as with the English word, implies all story's synonyms. "Histoire," then, can serve as a perhaps gentler "lie." So, "Betty Fisher and Other Stories:" It's a film whose plot is constructed of linked plots, a film in which strangers' stories intersect in ways we've come to think of as Altmanesque. But also, more intriguingly, "Betty Fisher and Other Lies:" Everybody's story involves a lie. Or everybody is a lie.

I booted up here, just now, fearing I'd only pan the film. The round-robin plot relies on glaring improbabilities and deux ex machina transpositions. It's so strongly plotted, I'd thought to say, it could probably survive one of those English language remakes, and weakly enough drawn in many of its characters that a such a remake might stand a rare chance of bettering it. Nonetheless, make a project of finding the "lie" in each character's "histoire." Which characters tell lies? Which lie to themselves, which to others, which to both? Is any character totally sincere? Is any character pure lie?

I'm not entirely sure whether it's the case of an actor stranded in an outrageously unbelievable plot, or of an actor acting for all she's worth to realize that plot, but Betty's plain-faced, ever-stricken, ever-lost expression, more than anything else in the film, stays with me. Though one needs a little French to appreciate it, "Alias Betty" may actually be a quite complex translation.

I can now understand why authors feel leery about letting screenwriters adapt a novel. First of all, a full length novel doesn't translate well to the screen. There are too many nuances and too many details, that trying to do them all, will humble the most talented scribe.

Take the case of the novel in which this film is based. The Tree of Hands by the magnificent British master of suspense, Ruth Rendell. The adaptation has nothing to do with the brilliant narrative she gave us with this novel. If anyone wants to see the best adaptation of a Rendell book, I would recommend to see Claude Chabrol's, "La Ceremonie".

Not only was that a superior film, but it reveals the essence of the book with little effort.

The problem with "Alias Betty" is Mr Miller's scenario. He has changed the basic premise of the book into something else. Now, don't get me wrong, it is a better film than some of the mediocrity coming from France lately.

The big problem is with the character of the mother. Nicole Garcia is out of her range here. Not only that, one never understands what's wrong with her, even though she appears to be schizophrenic. She's a loose cannon up to no good. In the novel she's even more so.

Betty is ambiguously played by Sandrine Kiberlain, which in a way, suits the character better. She is the only sane person around, even though she is unable to control the mother.

The minor side plots add to the story, but everything at the end is resolved so easily that one wonders if anything like that is possible in life. The films end in an upbeat note, even though it has nothing to do with the original novel.

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.

In the case of Alias Betty, I doubt that life would imitate art...what do I mean by this...well, crimes are committed everyday...murders, thefts, kidnappings...but do we ever feel empathetic with the criminal who commits these acts...in a word, NO! In this foreign film by Claude Miller, he managed to weave several story lines that showed dysfunction to the max. It was a bit difficult to feel any empathy at first with the main character's emotional pain as the character seemed so dispassionate. As the story evolved it was plain to see that the horrific crime committed by the character's mother in hopes of easing her child's pain, or perhaps her own might have been the best solution for all involved. Perhaps the moral of this story is that one doesn't have to be the birth parent to provide a loving and secure home for a child...anyone can be a parent, but not everyone knows how to parent. This film was extremely well done and will leave the viewer with much to think about.

This is a beautifully crafted, visually stimulating, intricately plotted humane thriller--yes, all of those things humane. No, it isn't for casual viewing, people don't slam doors and shoot guns every five minutes, and yes, the viewer must be able to read subtitles to understand whats going on, as even the opening flashback happens so quickly and unexpectedly that we wonder if we experience what we just saw.

This is a puzzle film about parenthood, about children surviving in spite of a crazy world, a film contrasting social worlds and attitudes. Typically French in being thoughtful rather than action-oriented, the depictions of an off-kilter parent are all too real--and there are several of them. Not a masterpiece, but well-worth careful watching