BenoitMagimel Tagged Articles at Cinematical
SFIFF Review: A Girl Cut in Two
Filed under: Foreign Language », Festival Reports », San Francisco International Film Festival »

Some filmmakers, like Chaplin and Kubrick, determined that they should release a film only every few years, to make it more like an event to be anticipated. Other filmmakers work faster and harder in an effort not to be forgotten, like Spike Lee or Woody Allen. It's difficult to determine which method is more effective, but it seems like if a filmmaker turns in over fifty films of mostly high quality, their work is eventually taken for granted. Everyone loves Hitchcock now, but in 1976 when his final film opened, he must have seemed like a relic compared to Rocky and Taxi Driver. That's how I imagine Claude Chabrol today. Now 77, he releases a movie a year, more or less, and passed the fifty-film marker some time ago. Unlike his French New Wave colleagues, he didn't make a single masterpiece in his youth, and so has nothing to live up to. Rather, he's consistently reliable and skillful, and it's difficult to judge any one of his films up against another. Look through reviews of his most recent films, and for each one you'll find at least one person claiming it's his best film in years.
And so comes A Girl Cut in Two, which recently screened at the 51st San Francisco International Film Festival. I loved it. It's another superbly-made, highly enjoyable Chabrol film, but you probably won't see it on any top ten lists, nor will Chabrol be collecting any awards for it. I think "consistent" is a bad word among film people; we're more easily impressed by change and diversity, or by the newest, latest thing. Actors like John Wayne were routinely overlooked in favor of actors like Marlon Brando, though Brando could never in a million years have pulled off what John Wayne accomplished in The Searchers. Brando could do lots of things, but John Wayne was the best at being John Wayne. That's my standard rant, and that's how I feel about Chabrol. Now, onto the new film:
Review: The Bridesmaid
Filed under: Drama », Foreign Language », Romance », Mystery & Suspense », Theatrical Reviews », New in Theaters », Cinematical Indie »

The latest thriller from Claude Chabrol is, surprisingly, a French attempt at an overwhelmingly American genre. I don't think the genre has a name, but it always poses the same question -- can I have sex with a crazy woman and walk away unscathed? Made famous by Fatal Attraction and its successors, this special catalog of films is one that American males cherish, because it allows us to work out our natural terror of dominant women and relish the idea that nymphomania may actually exist, if only in short, homicidal bursts. Who knew French men were struggling with the same issues? There are problems with this particular entry in the genre, but they don't lie with the crazy woman at the center, thankfully. Parisian actress Laura Smet perfectly embodies Senta, a fleshy mope who looks like a soiled carbon copy of Kate Winslet, with a broad, Rubenesque frame and snarling lips. Senta is a bridesmaid at the wedding of Sophie (Solène Bouton), sister of the arrow-straight and unadventurous Philippe (Benoit Magimel). Before the cake is cut, Senta is shooting daggers at Philippe and serving up lines like "I wasn't born to have a bad time." To show she's not kidding, she insists on sleeping with him on their first date. It takes a lot of crazy to make a man see the flaws in a woman like that.









