A film review: "Jours tranquilles à Clichy" [1990 France, Italy, Germany]

Too often in the history of cinema have we seen a legendary director bring an inspired piece of literature to film and completely miss, not only its central theme, but also the pulse. The culprit on this occasion of 'artistic license' is none other than Claude Chabrol himself, and the work that suffered the misfortune was Henry Miller's autobiographical "Quiet Days in Clichy".







Granted, Chabrol's "Jours tranquilles à Clichy" didn't set out to merely replicate the novella for screen, it was also meant to be a vehicle for some of his own material. It wasn't the case that the original and Chabrol's own ideas couldn't sit well together - he could have done justice to both, but it fails due to a number of reasons.

The 'quiet days' that Miller recalls is mainly about the poverty he and his flatmate Carl endured as struggling writers amidst the decadence of nineteen thirties' Paris. But what we're presented instead is a stream of ostentatious indulgence. Frequently finding themselves among the burlesque opulence of a high-class bordello, Carl and Joe (Miller) hardly remind us of guys who might any time be kicked out by their landlord.

Chabrol, while sticking to the period against which the novel was set, refuses to include the protagonist's 'survival-mode' economic backdrop, due to which the novel is taken out of context. Miller was well into his forties during the period against which the novel is set, but here he's represented as a wide-eyed youth in the form of Andrew McCarthy. And Nigel Havers would never make a Carl even if the sun were to rise from the west, impeccable accent notwithstanding. At least, they got the fifteen year old Colette (Stéphanie Cotta) right in the casting department. But Chabrol would've rather given the film a different title altogether, if only to allow us to talk about his film instead of the dubious nature of his adaptation.

But let me add a few words about the film, if only to do justice to one of Chabrol's most uncharacteristic films in his long and illustrious filmography. The additional material he brings to this film is more of a tribute to Luchino Visconti (Death in Venice) and possibly Bob Fosse (All That Jazz). Miller, during what's presumably his final hours, pines for the perfect beauty of an adolescent girl (played by a just-about adult Giuditta Del Vecchio). Her illusionary presence is there only to preside over his death, alongside the vultures and free loaders waiting outside. I don't remember coming across symbolisms of this kind in any of Chabrol's films - this is more of Jean-Claude Brisseau's territory.

As for the film's technical merits, there's something really awkward about the set design - there's too much of an attempt at aping a Visconti, and very little recreating Paris and Clichy of thirties. But I have to admit that I adored the twin bath featured in the bordello, an original antique perhaps. As with most mainland European films with original English dialogues, there is a distinct cultural disconnect with its intended anglophone audience, that unintentionally lend a surreal air to proceedings. For the type of film, its editing is decidedly choppy, and I'm pretty sure that my DVD is the integral version (116 mts, PAL runtime) rather than some butchered 90's print.

All said and done, while it might be futile to compare different cinematic adaptations of literary works, one is nevertheless tempted to draw comparisons between the two existing adaptations of Miller's Quiet Days in Clichy, and if I were to choose one, it will have to be the rather incomplete, poorly constructed, but beautifully crafted, and ultimately more accurately rendered Danish version.

Amazon.fr DVD Link [PAL] | Amazon.fr Blu-ray Link

 

The Nudity: Eva Grimaldi, Barbara De Rossi, Stéphanie Cotta, Anna Galiena, Margit Evelyn Newton, Maria Cristina Mastrangeli, Federica Farnese, Mónica Zanchi, Giuditta Del Vecchio, and others
As you might have guessed - with the long list of names, the film features plenty of nudity. You might also notice that many names are Italian. They speak in English, and for someone who has a particular fondness for ladies speaking English with an Italian accent, it ticks several of my boxes. Apart from the nubile Giuditta Del Vecchio, the highlight will have to be the crazy Anna Galiena scene which, while not nearly as explicit as the Louise White rendering of the same character, is among the few successful attempts at comedy by Chabrol. There's hardly any male nudity - Nigel Havers is shirtless in one scene, and there's a brief side-on view of McCarthy during a sex scene. That's Chabrol for you..!



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Sylvia Kristel from Chabrol's underrated "Alice" [1977 France]

I would have liked this post to have been an elaborate tribute to one of the most remarkable personalities in European cinema, but will have to settle for paying my respects through an underrated gem from Claude Chabrol, "Alice ou la dernière fugue" [Eng. Title: Alice or the Last Escapade]. I hesitate to address Sylvia Kristel merely as a Dutch actress - she was a phenomenon, only comparable, perhaps, to someone like Marilyn Monroe in terms of being the object of near universal adulation and infatuation of her era. She was also influential in spawning a whole 'industry' on the back of her success - every "Emmanuelle" has strived to recreate the elegance and mystery of the character created by Sylvia Kristel. Emmanuelle was Ms. Kristel's gift to male youth of the 70's, one for which they would forever be grateful. Her recent passing may have been quite untimely, but she can rest assured of the indelible legacy she had left behind - changing men's perception of female sensuality, and furthering feminist goals. Dear Emmanuelle - may you rest in peace..!

Form is temporary, but class is permanent - I think it was a sports writer who said that. But I think it holds true to creative endeavours as well. Claude Chabrol was going through a bit of a crisis during the seventies - he was working on different genres but not exactly going places. Because people wanted him to do films he'd hitherto been famous for - murder mysteries. Several elegant pieces made during the period weren't well received, and "Alice" was one among them. While the film may not be his masterpiece, this modern adaptation of Alice in Wonderland is nevertheless a well conceived gem that oozes class. Sylvia Kristel also may not have been the most gifted of actresses, but as the eponymous Alice, she gives her character an air of mystery and a determination that makes this film tick. Alice here is no longer the innocent and curious type, but a worldly-wise modern woman wanting to make a fresh start after a failed marriage.

The story starts with Alice breaking-up with her husband one night and setting off in pouring rain. A shattered windscreen forces her to seek shelter at a nearby manor, where she's invited to stay for the night by its owner Henri and his butler. The following morning, she wakes up to find no one at the house, but her car has been fixed and breakfast laid at the table. But when she tries to leave, she couldn't find the gates through which she entered last night, and since then every attempt at leaving would bring her back to the same manor, making her realise that she's an unwilling participant in someone's wicked game.

Chabrol recreates an atmosphere of unease and impending fate surprisingly through light images and stunning colour - the stills will bely the horror fantasy that it is, yet every scene will be tinged with anguish. There's an enormous amount of meaningful detail in the imagery if you're willing to indulge yourself. Right from the snail on the windshield, to the reading room, and Alice's red dress (what an elegant dress by the way!), it is a feast for the eyes. The music and cinematography ably assist the tone of the film, and despite the fact that this is one of Chabrol's more unusual works, he has once again showcased his sheer mastery of cinema as a medium. Fittingly he had dedicated this film in memory of Fritz Lang. "Alice" is definitely a Chabrol classic, desperately in need of rediscovery, and therefore, Highly Recommended Viewing..!

Amazon.fr DVD Link

 

The Nudity: Sylvia Kristel
There is a scene in the film when Alice first notices that she is being watched, when she is about to get into the bath. Sylvia Kristel briefly displays her physical charms in all its stunning glory in this scene. She hears a voice when she's about to get into the bath, realising for the first time that she is being watched. My DVD is letterboxed and I don't think it has ever been mastered in true anamorphic widescreen. So I took the liberty of enhancing this special scene to 720p.




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Mariangela Melato & Sandra Julien in Claude Chabrol's "Nada" [1974 France]

It's Nouvelle Vague time - I'll start with Claude Chabrol's filmography with one of his lesser known films, "Nada" [Eng. Title: The Nada Gang], a crime thriller centred around a fictitious anarchist group who called themselves N.A.D.A.

This isn't your typical Chabrol - I was just lucky to have found it in one of my excellent box-sets. It is also not my favourite Chabrol, but I loved it nevertheless for its wit and satire. The fact that it also stars the classy Mariangela Melato, one of my favourite Italian actresses came as a pleasant surprise.

Claude Chabrol, one of the pioneers of the French New Wave cinema movement, is broadly compared to Hitchcock for his early suspense thrillers. But where he differs is by also giving social commentaries through his films, sometimes even taking precedence over the plot. He was a prolific filmmaker, and inevitably went through several phases of mediocrity and brilliance. But there's no denying the fact that whenever you think of legendary actresses like Stéphane Audran, Romy Schneider, and Isabelle Huppert, it is likely to be for one of their films directed by Claude Chabrol.

Synopsis:
Nada Gang members, led by academic Marcel kidnap the American ambassador for a ransom, but things take a different turn when the home ministry and an over-zealous superintendent decide to make an example out of them. Chabrol gives us a cynical insight into the way politics work, and also how even idealists compromise when the need arises. This is not exactly a great film, but certainly enjoyable as an action-packed crime drama.




 

Compilation: Sandra Julien and Mariangela Melato
There is only brief nudity in the film, but one of them is definitely worth checking out, that of the exceptionally sculpted beauty Sandra Julien (credited as Sandra Jullien). She plays a prostitute entertaining the ambassador when Nada members break in to spoil the party. The second is of the lovely Mariangela Melato who plays Veronique, one of the gang members, spending time with a veteran colleague she fancies, but who unfortunately struggles to perform on the given night. She gives only a brief flash of her breasts in this film, but not to worry - I will be posting here a legendary film by Ms. Melato pretty soon.





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