La demoiselle d'honneur

In Lille, the hairdresser Christine (Aurore Clément) has raised her son and two daughters alone. Philippe Tardieu (Benoît Magimel), who works in a renovation company; Sophie Tardieu (Solène Bouton), who is going to marry Jacky (Eric Seigne) in a couple of days; and Patricia Tardieu (Anna Mihalcea),who seems to be using drugs, live with their mother in a middle-class house where Christine works. Now, while a teenager is vanished in the city, Christine invites her son and daughters to meet her boyfriend, the wealthy Gérard Courtois (Bernard Le Coq) that has just divorced and is selling his house. She gives her garden stone head of the goddess of flowers Flora that Philippe adores to Gérard that tells her that he has a business travel to Italy on the next day, but he disappears from Christine's life. In Sophie's wedding, Philippe meets her sexy bridesmaid and Jacky's cousin Stéphanie "Senta" Bellange (Laura Smet) and they have one night stand. Despite the odd behavior of the unstable and apparently imaginative Senta, Philippe immediately falls in love with her and she suggests four weird things to prove their love: planting a tree; writing a poem; having homosexual intercourse; and killing a person. When a homeless beggar is found murdered in the harbor, Philippe decides to fantasize that he had murdered the man to prove his love to Senta. On the next morning, when he wakes-up, Senta tells that she had murdered Gérard to please Philippe and describes her crime in details. Philippe decides to visit Gérard to find the truth about Senta.

"La Demoiselle d'Honneur" is an engaging thriller by Claude Chabrol that slightly recalls Alfred Hitchcock style in "Strangers on a Train". The story has many subplots to divert the viewer and the twists are excellent. This is the first movie that I have seen with the sexy and gorgeous Laura Smet and I loved her performance, in a totally different type of psychopath. Like in other films of this director, the ending is open to interpretation and I believe that Philippe has indeed called the police, but will try to help Senta during her imprisonment. My vote is eight.

Title (Brazil): "A Dama de Honra" ("The Bridesmaid")

Note: On 14 January 2025, I saw this film again.

About ten years before he decided to venture again in Ruth Rendell universe, Claude Chabrol had transferred to the screen "a Judgment in Stone" entitled "la Cérémonie" (1995). It was his last great masterwork although he somewhat betrayed the novel. The choice of Sandrine Bonnaire for the main role was ill-advised. Afterwards, his career followed a creative downswing with rather mediocre works such as "au Coeur Du Mensonge" (1999) or "Merci pour Le Chocolat" (2000). So, could a new excursion in Ruth Rendell territory boost his career again?

Alas no and the title of my summary should give you an inkling about my thoughts on the Chabrol 2004 vintage. However, there were some good elements to make the film compelling and to grab the attention. The first sequence showcases Benoît Magimel and his family in front of the TV news that reveals a murder. Perfect to weave an eerie climate. The big, imposing, eerie house in which Laura Smet lives seems to shelter dark secrets and the "bridesmaid" lives in the basement. Chabrol was also interested in the games of truth and lie that link his two main actors and real suspense lies in Magimel's personality dangerously attracted to the bridesmaid. The filmmaker's touch is also discernible at the wedding ceremony where he ridicules its crucial steps. See the church sequence and the feast which echoes to the one in "Le Boucher" (1970). While I'm evoking this meal, the gastronomy dear to Chabrol has three sequences devoted to it in the whole film. But let's come back to the bulk of the plot. Like "a Judgement in Stone", "La Demoiselle d'Honneur" was an exciting novel to read and again Chabrol skipped over some important points, notably the reasons which prompt the hero to steal the bust from Gérard Courtois (Bernard Le Coq). In the novel, he stole it because he thought that Courtois was a vulgar man, but here Magimel's motivations to steal the bust remain blurred.

The thrust of the novel and so of the film is a man who gradually loses the control of his everyday life facing a sensual, attractive disturbing young woman. However, things aren't looking good because there's an absence of unnerving climate and the scenario seems to have been sedately written, especially near the end. In another extent, I know what I'm going to write is questionable but I do think that Chabrol contemporary films suffer from the choice of the actors (see bland Jacques Dutronc in "Merci pour Le Chocolat" or Jacques Gamblin in "au Coeur Du Mensonge") and sadly "la Demoisele d'Honneur" isn't an exception to the rule. Magimel's character isn't credible at all. He should get bogged down in madness as he's deeply in love with Smet but it isn't discernible on the screen. Laura Smet (Johnny Hallyday's daughter) has a monotonous acting while Bernard Le Coq's part is underwritten. Michel Duchaussoy who was brilliant in "Que la Bête Meure" (1969) is relegated to a minor tramp role unworthy of his wide acting skills.

So, an absence of interest for this story of manipulation is surely due to its actors and also because like for "la Cérémonie", Chabrol made dull Rendell's novel. Mr Chabrol, let's put it this way: the best of your work is far behind you in time (roughly the dusk of the sixties and the dawn of the seventies) and you will probably never reach this scale again. How about contemplating retirement?

This is a very good Chabrol movie. To me, probably his best since "Merci Pour Le Chocolat". The "atmosfear" was captivating, the script well written. The casting is great. The sets were mysterious (the old castle, for example). Well, to make a long story short, if you like Claude Chabrol's suspense movies, please, do yourself a favour and watch this one. Much better than the previous one, "La Demoiselle D'Honneur", was, I think, innovative enough to mark the mind of even his (Claude Chabrol's) long time fans in the deepest way. If he's physically getting old, as we all do, Chabrol's mind is still very sharp and a joy to explore. In a word, the French Hitchcock is back in top form ! May be the Ruth Rendall background of this movie gives it its best aspects. "La Demoiselle d'Honneur" is a kind of child-movie to an older Chabrol's masterpiece called "La Cérémonie".

Having read the book 'The Bridesmaid', I was gratified that this film was a very good representation of it. It kept close to the story and did not alter anything. Even though my image of Senta as she is portrayed in the book was different to that of the one in the film, it didn't matter as her personality was accurately portrayed - indeed, all the characters were excellent. Benoit Magimel was exactly how I imagined the main character, both in looks and behaviour.

The impact of the events would have been greater to those who haven't read the book (ie I knew what was going to happen) but I found it satisfying and would highly recommend this film.

Ruth Rendell's plots are so clever, with a twist in the tail, and it is important that a film captures this, and Chabrol manages it perfectly.

This movie did not particularly convince me. Maybe my expectations went in a completely wrong direction but nevertheless I discovered some flaws that really disturbed my pleasure of this basically interesting film.

The plot line grows more and more absurd and - in its absurdity - predictable as the story goes on. This would not matter to me (as I do not really mind that we are never given an explanation for the strange and questionable features that strike us right from the beginning, especially in connection with Senta and the bust) if the characters were a little more subtly portrayed. All of the characters (Magimel's at the least) are exaggerated and near-hysterical, and therefore close to various type clichés (the rebelling teen daughter stealing, colouring her hair AND piercing her nose; the bridegroom, who is revealed as an idiot the instant we see him, calling his bride embarrassing terms of endearment; the mother smiling hopefully throughout as if she was on drugs). I am sure all this is not due to bad acting but done so intentionally. But I fail to understand what kind of quality it is supposed to add to the film. Humour? I don't know; I laughed occasionally but not very often.

This is the kind of film that I am sure is fun making; but then it should not be shown publicly.