Rien ne va plus - Il gioco è fatto

The movie is certainly lighter Chabrol, with a plot that inherently depends on his frequent theme of the ambiguous relationships between people and their capacities for deception, but generally chooses to concentrate on understated elegance: even when Huppert finds a man dead in the bathtub with a spike through his eye (a moment of genuine shock value even though you more or less know it's coming) the nastiness is quickly absorbed into sophisticated exchanges with the (rather cliched) gangsters. The ambiguity extends to the relationship between the two protagonists, which appears to be father-daughter although the movie often seems to be hinting otherwise - the long lingering final shot is probably the final tease in this respect. Serrault plays his character in an engagingly grumpy, short-fused manner, which contrasts pleasantly with Huppert's pure show of elegance. Even though the opening scam seems like a dress rehearsal for a more complex and challenging movie than we ever actually get, the thing glides by most enjoyably; no less so for the faint air of slumming.

Betty (Isabelle Huppert) and Victor (Michel Serrault) are an unusual pair of con artists. She, in her forties, and he, in his seventies, share a relationship that defies definition: are they friends, lovers, or perhaps relatives? The ambiguity of their bond, brilliantly portrayed by the actors, lingers throughout the film, even up to its conclusion.

Specializing in small-time cons, Betty and Victor take on a far more ambitious scheme when she seduces Maurice (François Cluzet), a corporate treasurer, to steal 5 million Swiss francs. What begins as a meticulously planned heist soon spirals out of control as they become entangled in money laundering, plunging them into a perilous situation unlike anything they've faced before.

With sharp black humor, Claude Chabrol masterfully blends comedy and thriller elements, creating an atmosphere that shifts seamlessly between levity and suspense. The influence of cinematic greats like Lubitsch and Hitchcock is evident in the interplay of lighthearted moments with darker, more sinister undertones.

As the plot thickens, the audience is drawn into a web of intrigue where nothing is as it seems. The intricacies of the central con leave one wondering if Betty and Victor are not only deceiving their mark but also each other, sustaining a thrilling sense of unpredictability throughout.

The smalltime swindlers Elizabeth "Betty" (Isabelle Huppert) and Victor (Michel Serrault) make a living by cheating naive people. After swindling a salesman of garden tools in the French Riviera, Betty travels on vacation alone and schedules a next scheme in ten days in a congress for dentists in Sils Maria. However, Betty arrives at the hotel with Maurice Biagini (François Cluzet), who is the treasurer of a company that is traveling cuffed to a wallet with five-million francs. She tells Victor that she has the intentions of stealing his money and Victor plots a scheme using the naivety of Maurice. But soon the con artists have to face the dangerous associates of Maurice.

"Rien ne va plus" is a highly entertaining thriller by Claude Chabrol. I saw this movie for the first time in the late 90's and I liked it more than today. There are flaws along the story that I did not pay attention to when I watched it long time ago. But if the viewer does not think too much, he or she will like the plot points in this film. My vote is seven.

Title (Brazil): "Negócios à Parte" ("Business Aside")

Note: On 09 January 2025, I saw this film again.

"Rien ne va plus" is literally 'Mere nothing no more' or 'Trifle never again'. The con game is the premise, the relationship is the anchor. Go in with no expectations and be an observer to Chabrol's "The Swindle". Sit back, relax and enjoy the pairing of Isabelle Huppert and Michel Serrault -- they look so comfortable together.

He's a pro, definitely knows his con "art" and scam skills. She's a quick learner, a smart protégée. The age difference does not matter. The real relationship? Why, let it be. They are at ease with each other. Papa and daughter, business partners, lovers, whatever the relationship, they understand each other, know each other's quirks and habits, and yes, complement each other's life. C'est si bon. C'est la vie.

Chabrol does not hit you over the head with what he's trying to convey, nor give us over the top violent actions or sequences. It's like a French cuisine meal well served, no hurriedness, with connoisseur wine accompanied. We're first introduced to how the pair works together, their con artistry in low-key fashion and not overly ambitious about the profit they reap. In fact, Victor (Serrault) is a decent man, he makes sure they do not clean out the target's wallet.

Victor is alert and protective. He lets Betty (Huppert) have free rein. "You know I love you and I can live without you," he said to her when she wants to take a break -- going away for a few days before the next project. Actually Betty is trying to do a "project" on her own -- perhaps to thank Victor for taking care of her and providing the opportunities for her steady flow of income. Perhaps she wants to see how good she can be -- without him by her side all the time. Perhaps she wants to know she can make it on her own -- and bring him income vs. the usual trifle way.

Somehow Betty needed Victor's help, and unexpectedly, the pair is no longer small time con artists -- it's big time, "the administration" is involved! She meant well. He knows. He appreciates. He's attached and tries to save both of them out of the mess. Victor is such an artist at this. As we follow the pair, we eventually can tell what Victor's moves and thinking could be. We guess with him. We're afraid for him, and her -- ah, he would have.but, he would not.. Yes, that's what he would do. But, would he? Would she?

It's vintage Chabrol indeed. I remember my first Chabrol film was "The Does" (Les Biches) 1968. I noticed Isabelle Huppert when she was in "The Lacemaker" 1977 followed by "Violette" 1978 (another Chabrol). Michel Serrault played opposite Emmanuelle Beart in "Nelly and Monsieur Arnaud" -- what a gem! These French films are all pretty much for mature audience consumption. You will be able to appreciate if you can take French pace in stride.

It was refreshing seeing a con film again. As it is, it is quite light, and there is hardly anything I haven't seen in it, but does being pleased necessitate a constantly churning wheel of brand new things? It's a fun hour and forty-five minutes of standard con mechanics, and if you like con mechanics you will be delighted.

There is a point where you will find yourself surprised as the tone the film suddenly takes and controls well. Another thing it controls well is its handling of its twists, for there are always twists and mentioning their mere presence is like mentioning Spider-Man's presence in Spider-Man 3. The twists are interesting in that they feel predictable or that they're taking the simple way out, but that is never for certain.

Michael Serrault is the film's great highlight. He is tremendously likable and infectiously dry, and his occasional physical timing or subtly crisp one-liner holds the film's smiling side at bay amidst some token moments of comic relief, namely the presence of the gaudy widow whom Serrault constantly must try to hide from. And of course Huppert, as the film's real star, is truly perfect as a con woman, a 100% confident seductress, the fleshed out realization of the practically imagined version of a con woman. She does not stand out nor is she below par, even if she is upstaged a wee bit by Serrault, because she even characterizes her character's elusive quality.