Love Crime (Crime d’amour)


All the showers in the world won't wash out the stains left by a love crime.

All the showers in the world won’t wash out the stains left by a love crime.

(2010) Thriller (Sundance Select) Ludovine Sagnier, Kristin Scott-Thomas, Patrick Mills, Guillaume Marquet, Gerald Laroche, Julien Rochefort, Olivier Rabourdin, Marie Guillard, Stephane Roquet, Frederic Venant, Jean-Marie Juan, Suzanne Renaud. Directed by Alain Corneau

Power is intoxicating. You can’t get enough of it, particularly in the corporate world. Women are often thought to be above those power games that men play, but that’s not always particularly true.

Christine (Scott-Thomas) is a high-ranking executive with a multi-national American company. She sometimes brings her work home with her as well as her hard-working assistant Isabelle Guerin (Sagnier). The two women seem to be on very friendly terms, with Christine giving her protégé a scarf and Isabelle working long into the night for her boss.

But the affection is just a ploy. Christine takes credit for Isabelle’s ideas and in retaliation Isabelle sleeps with Christine’s boyfriend. Things start to escalate and soon it becomes apparent that Isabelle is far from the sweet, shy thing that she makes herself out to be. Something’s got to give and when it does it’s going to be extreme.

I’m keeping the plot points pretty minimal as I want you to be deliciously surprised by them as I was. This is the kind of thriller I dig on; taking unexpected twists but not coming from out of left field – you realize by the time the movie ends that all the clues and signs were there in plain sight . You just weren’t paying attention. At least I wasn’t.

Sagnier is a pixie-like French actress with one of those faces that will look almost childlike when she’s an old woman and certainly now while she’s 30-ish she looks considerably younger and innocent which is part of why she is perfectly cast here. She is sexy and competent, but she seems vulnerable and naive which is quite complimentary. It’s a complete and confident performance; she’s a major star in France and has done a few movies out here but has yet to really make an impact on the radar of American film audiences.

Scott-Thomas has actually become a big star in France although she continues to do English-language films from time to time. She is pushing 50, but that doesn’t prevent Gallic audiences to see her as sexy and seductive. American audiences seem to have a harder time with women of that age coming off as sexual; our age bias is a little disappointing because Scott-Thomas certainly is an attractive and sensual woman at any age.

The French excel at sexy; erotic thrillers have been pumped out by American directors for decades now (mostly on direct to home video) but they tend to push the overt sex scenes over seduction, using well-worn clichés to advance the story line  rather than coming up with clever twists of their own. The cat and mouse game between Christine and Isabelle takes a sudden turn that comes as a surprise unless you are very observant early on (or read a dumbass review spoiling the twist) but that’s not the really great part of the film – what happens afterwards and how one of the characters handles the situation they are left in is simply brilliant.

The title can be taken a couple of different ways which I’m not sure that Corneau intended – I’m not sure that the French title which this is directly taken from translates in the same way but I love that it can be interpreted as a crime of love, or someone who loves crime. That’s the kind of thing you roll over in your head in a movie like this. To put it bluntly, this is a movie that requires a little bit of brainpower to truly enjoy properly and not everyone wants to put in that kind of effort, which I can understand. However those who like their thrillers smart and sexy should seek this one out.

WHY RENT THIS: Sagnier is stellar. Really well-written story.

WHY RENT SOMETHING ELSE: Requires a good deal of attention to pick up on the film’s subtle clues and hints – some viewers may not want to invest the effort.

FAMILY VALUES: There’s some sexuality, some sudden and brutal violence, and adult situations not to mention a bit of foul language.

TRIVIAL PURSUIT: This was Corneau’s last film and was released posthumously after his death from cancer on August 30, 2010; the film also was remade by director Brian dePalma as Passion.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $3.6M on a $9.1M production budget; the movie was a box office disappointment.

COMPARISON SHOPPING: Deathtrap

FINAL RATING: 7.5/10

NEXT: Rabbit-Proof Fence

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OSS 117: Cairo, Nest of Spies (OSS 117: Le Caire, nid d’espions)


OSS 117: Cairo, Nest of spies

Jean Dujardin is stirred, not shaken.

(2006) Period Spy Spoof (Music Box) Jean Dujardin, Berenice Bejo, Aure Atika, Philippe Lefebvre, Constantin Alexandrov, Said Amadis, Laurent Bateau, Claude Brosset, Francois Damiens, Youssef Hamid, Khalid Maadour, Arsene Mosca. Directed by Michel Hazanavicius

You may wonder what spy novels looked like before Ian Fleming set pen to paper and came up with James Bond. If you have such thoughts, best check out the novel of agent OSS 117 by Jean Bruce; he wrote his first adventure featuring debonair spy Hubert Bonisseur de la Bath in 1949, predating Fleming’s “Casino Royale” by three years. Although I don’t know for certain if Fleming read the Bruce novels, certainly the similarities between 007 and 117 can’t be overlooked.

Cairo, 1955 – a crack agent of the OSS (the French version of MI-6 and the CIA) named Jack Jefferson (Lefebvre) has been murdered. The French government opts to send their best agent and Jefferson’s close friend Hubert Bonisseur de la Bath, a.k.a. agent 117, to “make the Middle East safe” and solve his friend’s murder.

He is given the cover of a chicken importer and Jack’s former secretary Larmina El Akmar Betouche (Bejo) to assist him, as he wades through American and Soviet spies, Nazi splinter cells, the supersexy Egyptian Princess Al Tarouk (Atika) and ghosts from his own past in order to get to the truth. In the meantime, he will demonstrate the French colonialist attitudes of the time, not to mention sexism on an epic scale. The joke is, of course, that those attitudes were standard at the time but looking back now, they are completely cringe-worthy.

Dujardin gets the look and mannerisms of Sean Connery-era Bond just right in this strange mixture of Clousseau, Bond and Austin Powers. Although the novels that Bruce wrote were straight-forward spy thrillers, this film is far from that ethos; instead, it makes merry fun of the genre, taking every cliché from the Bond series and throwing it back without mocking it so much. It is Hubert who is the most ridiculous, displaying an abysmal ignorance of local culture and customs but he is just so dang charming you don’t really resent him for it. One of the film’s funniest sequences is when a sleeping Hubert is awakened by a muezzin calling the faithful to prayer, he yells at him to “shut the **** up” and eventually climbs the minaret and pounds him into silence. It sounds horrible on paper and I’m sure many Muslims might take offense as written but it made me chuckle nonetheless.

The overall mood is enhanced by Hazanavicius’s use of period camera and optical techniques (such as rear projection during scenes in which the actors are in cars driving in the streets of Cairo, or the use of Technicolor that brings out the colors while giving the whole movie a kind of faded quality), as well as opening titles that recall the great Saul Bass.

Some of the jokes fell a little flat to me – that might have been a case of the humor losing something in the translation. Although the movie was only an hour and a half long, it felt like it had been stretched a bit. The movie’s climax also seemed a bit drawn out. However, if you like your spoofs over-the-top and Airplane-like, this might well be a hidden gem for you. Be aware this isn’t a Bond with all the gadgets and the Q Division; this is the Bond that was a suave, charming lady-killer one moment and a ruthless, rough killer the next. This is the Bond of From Russia with Love more than the Bond of Goldfinger. Well, technically, this isn’t Bond at all.

Yes, Bond and Hubert share the same pedigree in many ways but they are different animals. Hubert has a Gallic joie de vivre that no British actor could ever hope to duplicate. Part of me wonders how the movie would have fared if they had played it straight and cut out the outrageous aspects. Is the world ready for a truly international spy? We will have to wait for the answer.

WHY RENT THIS: Very reminiscent of the spy films of the 60s, with a Gallic twist. Some of the humor here is over the top and universal.

WHY RENT SOMETHING ELSE: Feels too much like something else at times. I wonder how much better it would have been as a film if it had been played straight.

FAMILY VALUES: There is some comic violence, a bit of sexuality, a few bad words and a whole lot of smoking.

TRIVIAL PURSUIT: The character of OSS 117 appeared in 265 novels and seven feature films in France between 1956 and 1970.

NOTABLE DVD EXTRAS: There’s a gag reel but everything else is pretty generic.

BOX OFFICE PERFORMANCE: Not available.

FINAL RATING: 5.5/10

TOMORROW: Cars 2