8 femmes

8 Femmes is a playful mystery/musical/dark comedy that hearkens back to Jacques Demy's Parapluies de Cherbourg, which also starred Catherine Deneuve, and Demoiselles de Rochefort, in which Danielle Darrieux and Deneuve played mother and daughter. The story stars off as a classic tale of murder in a closed room of an isolated mansion, and all of the eight women become suspects. As the various clues and revealed secrets begin to pile up and become more and more absurd, however, it becomes clear that the mystery is secondary to exploring the various kinds of relationships that exist between these women and the way they have all been affected by their relationships (or lack of relationships) with men, especially the man who has been killed.

The mystery is also secondary to having a good time, which everyone seems to be doing. One of the main strengths of the movie is that it doesn't take itself too seriously. The director and all of the actresses seem to be enjoying themselves so much that a sense of fun radiates throughout the film. Ozon uses laughter and black humor, however, to investigates the pain, rivalry and joy that arise between mothers and daughters, pairs of sisters, sisters-in-law, women servants and their mistresses, and women in love with other women. It's a grand buffet of fine acting and difficult to pick out the best of the bunch - all eight women are wonderful - but Isabelle Huppert steals a number of scenes (hard to do in that company) with the most over the top and unexpected performance. Each woman has great moments, however, sometimes of tenderness, sometimes of hilarious bitchiness, and once in a while, of sudden and intense emotional revelation. The songs that each one sings give a bit of insight to their characters and add to the overall fun of the film, but they also present dramatic challenges to the actresses, and all of them do well in making these musical numbers work.

It's great to see Darrieux again, and she does an excellent job as the matriarch of the clan who seems to be a frail and loving old grandmother at first but then pulls one surprise after another. The funniest bit in the film, a wicked moment of black comedy, involves an argument between her and daughter Gaby (Deneuve) that ends in shocking and unladylike violence. The song chosen for Darrieux to sing at the end, a haunting and poignant piece written by French poet Louis Aragon and the great singer-songwriter Geogre Brassens, pulls the film together emotionally in an unexpected way.

People expecting a straight mystery film may be disappointed in and confused by the film, and the American distributors haven't helped matters any by failing to mention on the back of the video box that 8 Femmes is a musical and a dark comedy as well. But for those viewers who have an open mind and are in the mood for a playful mystery with several great actresses, they should be greatly rewarded.

Francois Ozon directed this interesting and occasionally lighthearted film, "8 Women." It stars Catherine Deneuve, Danielle Darrieux, Isabelle Huppert, Emmanuelle Béart, Fanny Ardant, Ludivine Sagnier, Virginie Ledoyen, and Firmine Richard.

The film takes place during a winter in 1950s France where a family congregates for the holidays. Unfortunately, Gaby's (Deneuve) husband is found dead with a knife in his back. Kind of killed the holiday spirit.

Since the dogs didn't bark, it must have been someone known to the family. They can't go to the police; the phone line was cut and they are snowed in.

As they try to figure out the identity of the murderer, we learn that each woman has a secret, which is revealed during the film. They all had motives.

Could it have been Augustin, the dead man's sister-in-law, who lives with the family? How about his beautiful wife? His mother-in-law who is confined to a wheelchair? The chambermaid who, when she lets her hair down, is even more stunning? Or perhaps the housekeeper, loyal but hiding a powerful love? One of his two daughters? His own sister, who runs a brothel? The women discuss who inherits, and multiple motives for murder, and little by little, rivalries, tears, passions, infidelities, and musical numbers emerge.

Ozon has given us a look into the female psyche, and he has employed some of France's great actresses to do it. The colors are bright, the women and clothing gorgeous.

As someone pointed out, the French do not fear casting older women. Danielle Darrieux was 85 when she made this film; She is now 98 and did a film in 2010. Some French people live a very long time - I think it's the wine.

Deneuve, 59 here, is stunning, very elegant and regal. Fanny Ardant as Pierette is gorgeous and sexy, displaying dry wit and disdain for convention. Emmanuelle Beart is the insubordinate, sexually adventurous (according to her) maid who transforms herself during the film, as does Augustin (Isabelle Huppert), the homely sister-in-law. Firmine Richard, a formidable black actress, does an impressive job with the role of Chanel, the housekeeper who finally reveals her secret.

They are all so wonderful -- French women to my mind have a very earthy, worldly quality as well as sophistication. When one thinks of some American actresses in comparison, they seem like plain vanilla. It's a generalization, I know, and we do have some fine actresses, but I think the mindset of American show business is focused on youth and typecasting.

This film is enjoyable because of the cast and the look of the movie. I can't say the music was fabulous or even fit this story. It was a touch of whimsy and the upbeat tunes were fun. There were some sad ones, too. C'est la vie.

'8 Women' is one of those rare films the kind of which one doesn't come across too often. The story sort of follows an Agatha Christie style in the 50s. Director Ozon does an incredible job of telling the story in a satirical way by taking advantage of stereotypes and making it into a musical.

The murder suspects include suspect's wife (Catherine Deneuve), her sister (Isabelle Huppert), his mother (Danielle Darrieux), his sister (Fanny Ardant), his two daughters (Virginie Ledoyen and Ludivin Sagnier), his cook (Firmine Richard) and his chambermaid (Emanuelle Beart). Each character is something that sets her apart, either a lesbian, or pregnant, or a con, or a seductress or unfaithful and so on. The cast includes some of the biggest names in French cinema and all 8 women deliver electrifying performances full of humour.

The film goes pleasantly over-the top with the Agatha-Christie and the 50's formula. The colourful art direction is delightful. The dialogues are superbly creative and the spacious cinematography, especially the long shots and closeups are skillfully done. The songs are rightfully set in the scene and splendid to watch. Ozon also makes some interesting references to cinema of the 50s mostly through the characters' gestures, costumes and make-up.

One does not have to be a fan of musicals or French cinema to appreciate the beauty of this film. With excellent writing, a lovely cast of beautiful actresses and lots of colour, it is hugely entertaining with loads of fun and something that I would like to revisit.

'8 Women' is a rather unique film. On the surface it is the probably only entry in the genre of the grotesque whodunit-musical. But actually, it's a huge playground - for the actresses who get the chance to play with the stereotypes attached to them, and for director François Ozon to toy with the clichés of the whodunit.

Here's the setup: 1950s. A beautiful mansion. A man is found lying in his bed with a knife in his back. The possible suspects: His wife, his two daughters, his sister, his mother-in-law, his sister-in-law, the chambermaid and the cook. As these eight women can't leave the estate or call the police, they try to find the murderer themselves. We know this situation from countless Agatha Christie-stories.

But what Ozon makes of this situation is just incredible. It already begins with the casting: Who else could play the gentrified Gaby if not Catherine Deneuve? Is there any actress who would fit more perfectly for the role of the spinsterish sister than Isabelle Huppert? Who else would you want to walk around in that dress of a chambermaid than the most desirable Emmanuelle Béart? The actresses are eagerly playing with the stereotypes that surround them because of both, the roles they played and their private lives.

Then there's the story: All whodunits have those obligatory scenes where the motives of all characters are revealed. '8 Women' takes that formula and deliberately goes over the top with it, it's characters are unfaithful, pregnant, lesbian, poisoners and many things more. And as a final twist, the film stops eight times to give each of its protagonists a chance to reveal her true character in a scene entirely devoted to them - singing and dancing. There is also another scene worth mentioning that is entirely dedicated to the actresses: A scene with a lot of dialog that entirely consists of nothing but a series of closeups - and that for about three minutes.

Cinephiles can enjoy this film on even another level: The film is filled with references to beloved classics. Consider Fanny Ardant's musical number, which pays homage to Rita Hayworth's glove-strip in 'Gilda', and another Rita Hayworth-moment so wonderful I won't reveal it here. Consider Emmanuelle Béarts hairstyle that echoes Kim Novak in 'Vertigo'. Consider the fact that the late husband of the Dannielle Darrieux character was a general, reminding us of 'Madame de...'. Or consider the painting of the young Catherine Deneuve hanging in one room - a replica of a 'Belle de jour'-poster. All this is supported by the rich, colorful cinematography, the art direction and the costumes, that give the entire film a 1950s look.

But attention: If you give this film a chance, don't expect it to be logically consistent. It isn't. But that doesn't matter at all. The murder mystery story is replaceable. The film is entirely devoted to its brilliant actresses and the wonderful, bitchy dialog they exchange. It's great fun and it is getting better with every viewing.

It is nearing Christmas when Gaby and teenage daughter Suzon return to their home. Her husband Marcel is poorly but he has allowed Gaby's mother Mamy and Aunt Augustine to remain in the house as well – with maids Chanel and Louise to help with the guests and his other daughter Catherine. With all these women in the house, minor squabbles break out but nothing compares to the tension when Louise discovers that someone has murdered Marcel. With the house cut off by snow and the phone lines cut, it is clear that one of the eight assembled women must have done the murder – but with so many motives and so much suspicion, who could it have been?

Even if you have not seen any of these types of films or plays, the set-up will be familiar as a sort of drawing-room "one of us is the murderer" affair and indeed that is exactly what it is, in the tradition of Agatha Christie I suppose. However what Ozon's film does is take the staples of this genre and plays with them to produce a richly comic, colourful and enjoyable exaggeration thereof. Unlike some reviewers, I did not find it roaringly funny but did find it continually amusing. The plot could have been played straight and thus is good enough to hold the interest as a genre piece but it is the delivery that makes it enjoyable and engaging. While some of the songs are a bit ropey, their delivery is all slightly ott and fun for it. It also helps that the whole film is full of rich colours, again giving it the feel of a play, happening right in front of you.

Of course as with any play, a lot does rest on the cast and here we are not disappointed as the starry cast mostly "get" what the film is trying to do. Deneuve is great as the wife while Darrieux enjoys her character a great deal. Béart and Ardant both stick in the mind easily because they have a great lingering sexuality to their characters that they bring out well (Béart is particularly impressive at this game and it was here that I twigged how stunning she is). Huppert is enjoyable but I didn't like the changes her character undergoes at the end. Ledoyen is very good with her character but I wasn't so taken with Sagnier – she was OK but I thought she had the least to work with.

Overall then an enjoyable and lively take on an occasionally dry genre. The plot is solid enough to be interesting but it is the delivery across the board that adds colour, vitality and fun to the mix – from direction through set design to of course the performances. Not hilarious but consistently amusing and entertaining.