'' Mademoiselle Chambon (2010) " English Hollywood Film Release: 5/28/2010
Mademoiselle Chambon (2010) Comedy, Drama movie story Hollywood movie Online movie trailer Comedy, Drama Movie review English movie Online
Cast and Crew
CREW:
Release Date: May 28, 2010 (NY, LA)
Directed by: Stéphane Brizé
Written by: Stéphane Brizé and Florence Vignon, based on the novel by Eric Holder
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CAST:
Vincent Lindon, Sandrine Kiberlain, Aure Atika, Jean-Marc Thibault, Arthur Le Houérou
Mademoiselle Chambon (2010) Story:
LOS ANGELES (Hollywood Reporter) - The simplest of stories can be elevated by first-rate acting and directing. Consider Stephane Brize's "Mademoiselle Chambon," a French film that achieves a subtle but devastating impact. It tells a familiar story of an extramarital romance, but what makes it unusual, especially among French films, is that the couple spend most of the movie fighting rather than surrendering to their attraction.
Think of it as a latter-day "Brief Encounter," another repressed romantic classic with lots of classical music on the soundtrack. The film, which screened in Los Angeles recently at the City of Lights, City of Angels festival, will earn fine reviews wherever it plays, but given its deliberate pacing, this may not be enough to captivate a restless American audience.
Jean (Vincent Lindon) is a construction worker happily married to Anne-Marie (Aurore Atika). But when he happens to meet his son's teacher, Mademoiselle Veronique Chambon (Sandrine Kiberlain), his whole universe is turned upside down. The teacher is also a violinist, and when Jean hears her play, he is enchanted. The fragile, ethereal Veronique is quite unlike his earthy wife, and Jean has a rugged masculinity that obviously intrigues the sheltered schoolteacher. Both Jean and Veronique resist the attraction, especially when Jean learns that his wife is expecting a second child. Shattered by his apparent rejection, Veronique decides to leave town, and this brings the romantic triangle to a climax.
Brize favors static compositions involving very long takes, and while such a measured style can often be deadly, "Chambon" is riveting. This is partly because of sharp, unexpected touches in the writing. (The adaptation of Eric Holder's novel is by Brize and Florence Vignon.) All of the characters burst out of stereotype. The apparently macho Jean proves to have a gentle, hesitant side that only makes him more appealing. He is devoted to his aging father, and in one scene laced with delicate humor, father and son visit a funeral home to make advance payment on the father's casket.
In addition to unpredictable writing, the film is enhanced by perfectly modulated performances from all the actors, including Arthur Le Houerou as Jean's curious young son. Many of the best moments depend on unspoken reactions that Brize's eloquent camera captures. When Jean invites Veronique to play a piece by Elgar at his father's birthday party, he stands transfixed and shaken by her performance; the film then cuts to a close-up of Jean's wife observing him, and she recognizes the threat to her marriage just in these few moments of rapt silence.
As the relationships move toward a resolution, the tension builds expertly. The final sequence at a train station benefits from superb editing. By the end of this modest but compelling film, viewers are likely to feel at once drained and deeply satisfied.
Mademoiselle Chambon (2010) SYNOPSIS
Veronique Chambon leads a quiet, unassuming life in provincial town, earning her living by teaching primary school and seemingly spending much of her free time in the quiet of her rented apartment.
Mademoiselle Chambon (2010) REVIEW
American audiences have been trained to expect the worst from their heroes. In fact, most big-budget formulaic films insist upon it. Without a critical lapse in judgment, there is no arc; no boy “loses” girl; no chance for a Hollywood ending, so to speak.
Fortunately, Stéphane Brizé is a French director with French instincts whose French films don’t pander to the same aesthetic typical American films do. His most recent film, “Mademoiselle Chambon,” is worth the price of admission not so much because its characters make all the right decisions (they don’t), but because Brizé drills down deep to investigate the motives that lead to those decisions.
More importantly, he forces his audience to do the same.
Is it better to know the truth and ignore it, or expose the lie and risk losing everything? Romantically speaking, which is more valuable: the known quantity or the unproven commodity? What becomes of unresolved feelings — do they disappear upon the breeze or fester like a sore, infecting everything around them?
Brizé’s film succeeds in many ways because he refuses to answer these questions for us.
“Chambon” is by no means a morality play, nor is it an opportunity to point a pretentious and hypocritical finger at a society that not only accepts but, to some degree, endorses the pleasure principle.
“Chambon” is a modern-day examination of the grown-up tug-of-war between what is and what should never be; the difficulty of doing the right thing once you’ve committed to doing what’s wrong. It’s territory as old and well-traveled as the bridges of Madison County, that somehow seems more immediate and relevant with every retelling.
Brizé’s version relies heavily on wide-screen metaphors — the average wife as assembly-line worker; the blue-collar husband as bricklayer, who explains that “You need a solid foundation to build the house right … to build a house that will last a long time. If you do a good job, it lasts for life”; the virtuoso violinist who helps him appreciate music in a wholly different way.
Not that there’s anything new or revolutionary about using a house or music as a metaphor for life or relationships (see “Life as a House” and “Once” for more on this point), but, much like the story itself, Brizé infuses new life into an age-old theme thanks to subtle details, slow pacing and an ability to resist the urge for instant, or even eventual, gratification.
The tension between Victor Lindon (Jean) and Sandrine Kiberlain (Veronique Chambon) is palpable, driven perhaps by the fact that the two were romantically linked in real life at one point. Brizé plays one off the other, quite literally — in one sequence, Veronique is reading fine lit in her bedroom while Jean is mixing cement in the living room; she is grading papers while he is grouting panels, sleeping while he is slaving. She is the social Deb to his blue-collar Jean, the worldly teacher to his tongue-tied schoolboy, the constant wanderer who reminds Jean he’s been standing still too long.
But Brizé only suggests these parallels, rather than knocking the audience over the head with them. And Lindon complements Brizé’s directorial style by telling the entire story with his eyes. Through these subtleties, “Mademoiselle Chambon” stays true to the vision of Eric Holder’s original novel, which Brizé claims was more of a catalyst than a blueprint. In the end, both tell the story of forbidden love between a modern-day gypsy and a contractor who has spent his entire life working on the same house. Both versions build to a predictable, yet somehow still suspenseful climax before leaving us to decide whether it’s truly better to have lied and lost, or never to have lied at all.
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