June 21, 2009
A Girl Cut in Two is a film which reeks of French cinema: extra marital affairs, writers and bookshops, mopeds and other 60’s motifs, an older man who is somehow attractive to an array of younger women, and a healthy dollop of sexual frisson throughout. Directed by Claude Chabrol, a contemporary of New Wave directors such as Godard and Truffaut, it is the story of angelic weather girl Gabrielle Deneige (Ludivine Sagnier) and her relationships with two very different men – ageing author Charles Saint-Denis (François Berléand), who shuns celebrity and the lights of Paris; and his nemesis, the arrogant and mentally unstable socialite Paul Gaudens (Benoît Magimel). Gabrielle is the fulcrum for the dark proclavities of both Charles and Paul. But her wide-eyed naivety, and frankly bizarre willingness to acquiesce to their demands, leads ultimately to both men’s destruction.
Yet this is a comedy of manners that suffocates any dark undertow of impending tragedy. The film seems to delight in the sexual adventures of older men – there are a number of other lecherous, Sarkozyesque suitors to our weather girl - but also panders to Paul’s boorish and child-like unpredictability. Despite Gabrielle’s apparent self confidence, rarely has there been a heroine with such a poor judge of character. At one point Paul almost strangles her in pleading for a kiss, but still she agrees to see him again ‘You’re sweet!’. Meanwhile, when Charles changes the locks to his apartment thereby ending their affair, Gabriele responds by locking herself away and refusing to talk to anyone. He may be a distinguished author who has shown her a thing or two at a seedy member’s club, but he is old enough to be her father, and you do think that she should probably get a grip. Her next major decision, on a trip to Lisbon, is even stranger. It is as if we have turned back to a time when all women want is to be with someone, no matter who that person is.
Having said all that, I did enjoy it. There is a light heartedness that allows the film to float along without the burden, in the best traditions of European cinema, of making firm moral judgments on any of the characters. Indeed, the more disturbing scenes are far from disturbing. There are also some intriguing performances, not least from Benoît Magimel as the oddly intense – is he in fact retarded? – Paul. Chabrol’s direction also includes some lovely touches. Watch out for a number of scenes where different characters talk to each other via mirrors.
The final scene is clumsy to say the least – yeah, we get it! - but overall this is an intriguing film which kept me engaged throughout. But it won’t live long in the memory.
Yet this is a comedy of manners that suffocates any dark undertow of impending tragedy. The film seems to delight in the sexual adventures of older men – there are a number of other lecherous, Sarkozyesque suitors to our weather girl - but also panders to Paul’s boorish and child-like unpredictability. Despite Gabrielle’s apparent self confidence, rarely has there been a heroine with such a poor judge of character. At one point Paul almost strangles her in pleading for a kiss, but still she agrees to see him again ‘You’re sweet!’. Meanwhile, when Charles changes the locks to his apartment thereby ending their affair, Gabriele responds by locking herself away and refusing to talk to anyone. He may be a distinguished author who has shown her a thing or two at a seedy member’s club, but he is old enough to be her father, and you do think that she should probably get a grip. Her next major decision, on a trip to Lisbon, is even stranger. It is as if we have turned back to a time when all women want is to be with someone, no matter who that person is.
Having said all that, I did enjoy it. There is a light heartedness that allows the film to float along without the burden, in the best traditions of European cinema, of making firm moral judgments on any of the characters. Indeed, the more disturbing scenes are far from disturbing. There are also some intriguing performances, not least from Benoît Magimel as the oddly intense – is he in fact retarded? – Paul. Chabrol’s direction also includes some lovely touches. Watch out for a number of scenes where different characters talk to each other via mirrors.
The final scene is clumsy to say the least – yeah, we get it! - but overall this is an intriguing film which kept me engaged throughout. But it won’t live long in the memory.