Rien ne va plus

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.

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.

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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

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.