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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.

"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.

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.

Although Betty (Isabelle Huppert, who was 43-years-old when the film was released) calls Victor (Michel Serrault, who was 69) "Papa" on occasion in this smooth and restrained thriller from Claude Chabrol, he is not her father by any means. The term is merely one of ironic affection. What they are are modern "gypsies" living on the fringes of society plying their ancient trade. Perhaps they were lovers in the past. Clearly they are a team, dependent upon one another. In particular what these small time con artists do is go to conventions, medical, dental, farm equipment salesman conventions, find a target and con the poor dupe out of some of his money.

Some. The film begins at a roulette table on the French Riviera with Betty stringing along a not entirely bright lawnmower salesman whom she invites for a drink. She slips some knockout drops into his drink and quickly invites him up to his room where, after he is out cold, Victor follows. They take some of his money. Victor insists on always playing it safe and using a rather strange but plausible psychology (which will figure later in the movie) of making the man think that perhaps he wasn't robbed, since if she had intended to rob him, would she have only taken part of the money out of his wallet? They do forge his signature on a check, but he will only find out about that later, and indeed might not be sure about how that happened.

So this is a small time con. Trouble begins for our vagabond thieves when Betty meets the CFO of a big corporation who is transferring five million Swiss francs in cash out of the country. She senses the chance for a big score, and after the mark falls in love with her (she thinks) she brings Victor into the scheme. With some tricky exchanges of the metal suitcase containing the money Betty and Victor end up over their heads in some very hot water.

The plot is a little on the unlikely side, as thriller plots tend to be, but the thing to keep in mind is the idea of taking only PART of the money. This is what fools the bad bad guys (as opposed to the good bad guys who are our vagabond duo, Betty and Victor).

Any movie starring the incomparable Isabelle Huppert (La Pianiste 2001; Merci pour le chocolat 2000; La dentelliere 1977, and many more ) is worth seeing and any movie directed by Claude Chabrol (Une affair de femmes 1988; Betty 1992; La ceremonie 1995, etc.) will have something of interest in it. Add a fine performance by Serrault, one of the great veterans of the French cinema, and "Rien ne va plus" is definitely worth seeing. However the role played by Huppert does not challenge her and Chabrol's more famous films (some of them also starring Huppert) are decidedly more interesting.

But see this for the lighthearted chemistry between Huppert who is sublimely fetching and Serrault who is clearly past the age of any pretension. Such a quasi-Platonic union based on the love that still warms the embers in a dying fire has become almost a staple of directors past their prime. See Claude Sautet's Nelly and Monsieur Arnaud (1995) which also featured Serrault for another example.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Claude Chabrol is the master from the French New Wave who specialized in mysteries with sordid characters but aside from only a few hints of Chabrol's flare, this is a predictable "Swindle" film. Story is about an older conman named Victor (Michel Serrault) and a woman named Betty (Isabelle Huppert) who are clever but mainly smalltime thieves. We see Betty at a casino flirting with a businessman and when he's not looking she spikes his drink. They end up in his hotel room and he passes out. They steal some but not all of his money so that when he wakes up he won't be sure if he gambled it away or not. Then Betty decides to run a scam on a financial courier (Francois Cluzet) for a crime syndicate who is suppose to transfer 5 million Swiss francs but of course they plan the old "Switcharoo". After this happens the head of the syndicate named Monsieur K (Jean-Francois Balmer) escorts the two of them to his place and wants his money back! This is definitely not Chabrol's best effort but its not because its not well made, it is. But the material is so familiar that at times the film seems run of the mill. There are some nice touches like Victor always being mistaken at the hotel for an employee. The script does have you guessing about certain things like the relationship between Betty and Victor. Are they lovers? Is he her father? A few times during the film Betty calls him "Father" but it might be a pet name and they might also be tutor and student. And the caper itself is never clearly defined as we suspect that Victor had the whole thing planned ahead of time. Usually the characters in Chabrol's films are complicated and challenging for the viewer but thats not the case here. Its definitely a lightweight effort and while its mildly interesting mainly for watching another re-teaming of Chabrol and Huppert, its nowhere near Chabrol at his best.