A Viúva

This movie is a miscast for both Signoret and Delon. I can understand that Signoret, needed the money and took this option. THere is nothing wrong with that. As for Alain Delon, who performed in "Cercle Rouge" made in the previous year, by Jean-Pierre Melville. This is an almost a replay. And a bad one. Mr. Pierre Grasnier Deferre is a second (if not third) rate French Director. I never read the novel by Simenon. I do not believe he is the culprit, but I admit I can be wrong. You want more lines. Here They are. Octavia Piccolo has a child and breast feeds him. The movie shows Virgin nipples. Pierre Grasnier Defferre never knew a virgin. Maybe he likes widows. Nothing wrong.

"La Veuve Couderc" comes on a disc that also includes one of Alain Delon's very best films, "Diaboliquement Vôtre"-- truly terrific suspense film. While "Le Veuve Couderc" is not nearly as good, as long as you're watching one of the films, you may as well watch the other. However, just be forewarned that "Le Veuve Couderc" is MUCH slower and may be too slow for some audiences.

The film begins with a middle-aged woman (Simon Signoret) being assisted by a traveler (Alain Delon) to carry her new incubator back to the farm. He asks if she has more work and she hires him without knowing more about the man. The widow turns out to be a rather sad character with a sad past--though she doesn't dwell on this. She also has some in-laws that give her no end of trouble. What about Delon? See the film and find out more about the stranger.

As I mentioned above, the film is pretty slow. It's well acted BUT perhaps the acting is, at times, a bit too muted. I would have loved some more energy in the film. This doesn't mean you shouldn't watch. It also didn't help that you didn't feel much connection with the characters.

By the way, although you probably won't care, the history teacher in me was a bit annoyed because Félicie's hairstyle is NOT period--she looked to be from much later. It's a little thing but I am surprised they didn't catch this.

The person who wrote that she (?) thought that, perhaps, no one in America had seen this film is wrong! I saw it in Los Angeles when it first came out, in the early '70s. Granted, it did not leave a great impression upon me. What left a great impression upon me was, bien sur, the wonderful Alain Delon. Sigh. Sorry! Can't help it! I will remember everything he was in until the day I die! After seeing this film, I remember afterwards, recollecting the scenes with him and the younger gal with whom he was dallying, and thinking, "That actress should PAY to play that role!" Again, sorry! Of course, Signoret was fantastic, as she always was.

This is my favourite from Pierre Granier Deferre, besides LA HORSE, LE TRAIN and LE CHAT. The story itself, the topic is not so unusual, only the character study and relationship is riveting. Watch out for the lines between Simone Signoret and Alain Delon, before the other film they make together two years later: LES GRANGES BRULEES. This movie is adapted from a George Simenon's book, which I have never read, but this film is poignant, sad, downbeat, in the seventies fashion. Simone Signoret is here at her peak, as powerful as she was in LE CHAT, the very same year, this mature lady, so rough from the outside, who refuses to admit her love for Delon. Two so different people, the escaped convict and the widow, surrounded by nasty folks who don't understand them and wish them the worst. Two aginst the whole world. So subtle, everything unsaid is more convincing than any words or even acts. A strong story telling.

Wow: Delon, Signoret, Simenon - and it's an almost total dud. Virtually not a single thing happens for the first 75 minutes of the movie. No, scratch that: Delon sports a terrible moustache in the first half, but he later shaves it off; that IS an important moment. Even the title is uninviting. * out of 4.