Violette Nozière

It is an atrociously unlawful act depicted in Chabrol's sensational melodrama, the based-on-a- true-story type (a murder case in 1933) which would usually generate a slew of horrific feedback in the social news commentary, about an adolescent girl poisons her parents in order to back up her gold-digger boyfriend to elope together.

What makes the film so gravely provocative is the entire scheme of Violette (Huppert) seems so juvenile and wanton, the viciousness is inexorable and beyond any logical solace. Violette is a lackadaisical, apolitical and promiscuous teenager, although at the age of 24, Huppert is unbecoming to pass for the role, but Chabrol adroitly restyles Violette with a more precocious patina, the dexterous transition between the good girl veneer when she is with her parents and the motel-hogging and man-hunting hussy potently incites Huppert's chameleonic escapade, each and every single frame zooms in on her unprovoked aloofness and obtrusive sex appeal. She is perpetually indulging in her own pathetic realm, sneers at her parents' clumsy intercourse and disgruntled at their ordinary petit bourgeois trivia, she is in an impetuous situation to find an egress, but the man in her dreams is a major disappointment as viewers all being well- informed in advance, it is money he is on the lookout for. The affair is doomed to futility, in some sense Violette knows it fairly well, but it is the defects (the egocentric selfishness, deep- rooted misanthrope and diabolic cruelty) in her character blind her sight, poison her mind and abet her into carrying on the abhorrent action.

After the murder plan goes as expected and the lousy gas-accident cover-up, Germaine, the mother (Audran) survives the poison, it is not a detective story after all, instead, it is an awkward moment of facing the truth, but Violette's vituperative accusation to her late father (Carmet) in order to justify her motive shatters all the expectation if there is any mercifulness left in her, she is an archetype of the malevolent side of human nature, an anomaly which defies all the logical interpretation, she and Dr. Hannibal Lecter can be an adorable couple!

Stéphane Audran, whom I just appraised for her delicate performance in BABETTE'S FEAST (1987, 8/10), is astounding here as the overbearing but doting mother of Violette, she is the one we can mostly project our compassion on, yet, we might also prompt to question her tutelage, perhaps she is at least partially responsible for the decadence of her sole daughter, how Violette's double act (constantly stays in motels and hangs out someone the parents have never met) can blatantly evade a mother's instinctive nature is a shade bemusing, not to mention the intaking of unknown medicine for the sake of hereditary syphilis, at least verify with the doctor first (and in this case, both parents are too unmindful)!

New to the canon of Claude Chabrol, the pick of VIOLETTE may not be the optimum starter, the disrupted narrative never fully register any excitement barring a bitter aftertaste and shocking values of the subject matter, its foremost merit is to grant Huppert a stage to unleash her glacial pulchritude, which one can appreciate from every unyielding close-up on her, and comfortingly augurs an eminent career for her as crème de la crème of the French cinema, her screen magnetism is inherent.

Generally considered Chabrol's return to form after a period of barren inspiration ,including his worst ever ("Folies Bourgeoises").It was probably her best since "les Noces Rouges" (1973) .Like it,it was based on a true story, but an old one ,for the story takes place in 1933.Violette Nozières (the first of a long series of lead parts for Isabelle Huppert in Chabrol's canon) ,predating the director's "Madame Bovary" ,tries to shun her petty milieu ,falls for a gigolo (Jean Dabin! the heroine mistakes it first for the actor Gabin),and tries to poison her parents (she has mitigating circumstances ,for her father desires her ).Stephane Audran and Jean Carmet provide good support as the folks.

In the streets ,the buskers sang the horrible story of the infamous Violette Nozière.

Paris in the early 1930s: Fourteen-year-old girl Violette has relationships with various men and is disenchanted with her parents, who show no compassion for the girl's problems. How can they be solved? Not one of director Chabrol strongest works, film is buoyed by exceptional camerawork (Jean Rabier) and an appropriately melancholy performance by Huppert as the young girl. Interesting mainly for Chabrol enthusiasts, others beware of the complicated narrative structure. Most reviews reveal too much of the plot! From a novel by Jean-Marie Fitère, which is based on a true case.

The infamous mediatic Violette Nozière case that shocked France in thirties between the wars took Claude Chabrol to enterprise this bold project in late seventies, the wiser director hits the target off the bat to cast Isabelle Huppert to play the young criminal that fits perfect as teenager Violette, the screenplay was based upon Jean-Marie Fiterè's novel in accurate manner as expected by own writer, extensively documented due at its time Violette already had died and wouldn't possible any further information thru her.

Chabrol got replicate the tiny Nozière's apartment where the main sequences unfold, also several spots of period piece to shooting in external scenes, further exposing with accurately Violette's double life on Parisian flamboyant lifestyle at Quartier Latin and her involvement with the crook Sorbonne's student Jean Daban, moreover a possible incest Chabrol just implles it slight on suggestive scenes, due he never believe that his father had committed such outrageous crime whatsoever, an stunning portrait from bleak past of Nozière's family!!

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First watch: 2025 / How many: 1 / Source: DVD / Rating: 8.5.

This was Claude Chabrol's 15th film that I saw and was a bit disappointed. The film is reasonable, has merits, good interpretations, but for a real shocking story that happened in 1933, I expected more from the film, the way it is told the story and empathy with the motivations of the characters, which never happens. Ten years later, in 1988, again with Isabelle Huppert, Chabrol made a film that has some similarities with this, I speak of "une affaire de femmes", which is undoubtedly a superior film.