Negócios à Parte

What a viewer makes of a film very much depends on the expectations that he or she brings to it. I had previously seen five other films directed by Claude Chabrol and considered all of them impressive. "Rien ne va plus" came as something of a disappointment. Though recognisably the work of the same director, it struck me as markedly inferior in terms of atmosphere and depth - which is not to say that it is a bad film by general standards. The quality of the acting is very high. Isabelle Huppert (Betty) is always extremely watchable, and Michel Serrault (Victor) is equally subtle. Their characters may not be the most credible of thieves, but the first part of the film, showing their practised hotel-based criminal double-act, is polished and amusing. After this, my enjoyment of the film steadily diminished. That none-too-original plot device, a briefcase full of banknotes, comes to the fore. (Criminal 'capers' have never much appealed to me.) When the action then moves to Guadeloupe, it turns into a run-of-the-mill gangster film (a genre that I like even less). I found myself waiting for the end - and, when it arrived, it might have come from Hollywood.

Viewers who do not view it with my preconceptions and aversions may certainly enjoy "Rien ne va plus". It is undoubtedly a well-made film. In future, though, when I recommend the works of Chabrol, while drawing attention to "Les biches", "Que le bete meure", and "Merci pour le chocolat", I may add the proviso: 'But I wouldn't bother with "Rien ne va plus". It's nothing very special in comparison'.

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.

"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.

I have seen and recorded this movie by Claude Chabrol on the TV. I have been a fan of Chabrol's films for many many years. Let's say that the suspense master Claude Chabrol is the French equivalent to Alfred Hitchckok. The actors Serrault and Huppert are good but the one that I found particularly excellent is the head mafiosi who listens to the opera in the mafia Caribbean quarters. What a presence, what a good actor! It is also good to see a movie that is not saturated with special effects as films are done now, with excess. I hate those special effects because they are never perfect illusions, and they almost never fool me. Films are also always enhanced by the nice scenery they contain and "Rien ne va plus" is no exception. Actress Marie Dubois is in the film for a small role, but I have been unable to identify her. Can someone identify her for me, please? Thanks. YC

Claude Chabrol made some of the best thrillers of all time in the late sixties and early seventies, with such classics as La Rupture, This Man Must Die and Wedding in Blood under his belt. The Swindle is the most recent of all the Chabrol films that I've seen and while it has to be said that it doesn't capture the brilliant complexity of his earlier films; this is still an excellent exercise in suspense and trickery; well handled and bolstered by a very capable central cast. We focus on Elizabeth and Victor; a pair of scam artists. They pull off a successful scam and the female of the pair decides she needs some time on her own and they decide to meet up again after a ten day break. They meet up at a hotel during a dentist's convention; and Elizabeth has already found a mark named Maurice, who is transporting five million Swiss Francs on behalf of his company. The two make plans to steal the money under Maurice's nose...however, there may be more to the game than either of them realised.

This film has been described as 'lightweight Chabrol' and I'd agree with that as compared with his earlier films; there just isn't all that much to this one. However, there's still plenty about this film to enjoy. The main point of interest is the relationship between the two central characters. Chabrol never directly tells us exactly what this relationship is; her calling him 'papa' appearing to merely an affectionate term. The two central actresses are superb with the demure and attractive Isabelle Huppert acting well alongside the older Michel Serrault. The plot flows well and although it never really picks up; Chabrol keeps things going at a nice pace and always ensures that his audience wants to see what's coming next. The film is rather lightweight and enjoyable for the first hour or so and takes a darker turn towards the end; which does actually fit the film well despite the change in atmosphere. Overall, this is not vintage Chabrol by any means but it's a well made and entertaining thriller and I'm sure Chabrol fans will appreciate it.