I Live For A Living.

Another day, another ex-Cahiers du Cinema writer, Nouvelle Vague founder member. While we've played around with Jean-Luc Godard and François Truffaut, today we're touching on someone often thought of as the ultimate father of the movement, Claude Chabrol (this is an extremely arguable claim, by the way, but we're not here to discuss history. In fact, we're not even going to look at one of his films from the period in question, instead drifting back merely three years to 2007.)

The Girl Cut In Two stars two young actors who have only recently appeared on this blog, Ludivine Sagnier (in Swimming Pool) and Benoît Magimel (from The Piano Teacher.) Sagnier plays Gabrielle, a television weather reporter and the object of the affections of both celebrated older author Charles Saint-Denis (François Berléand) and young playboy Paul (Magimel.) Charles is a bit of a whore, married to one woman, seeing Gabrielle on the side, going to a variety of sex clubs. Paul is a bit of a pig, not doing anything with his life except relying on the fortune he is set to inherit, arrogant and cocksure. Gabrielle is in the middle, flattered by both attentions, though the one she really wants is Charles. Charles, however, once he has her, uses her as a pawn in his game before discarding her, unwilling to bring her into his life when he is otherwise perfectly happily married. Paul, meanwhile, won't give up, begging for her hand, promising the world. But this love for Gabrielle, or desire, or whatever, doesn't end in happiness for either Paul, Charles or the beautiful Gabrielle.


It's a nice film, albeit somewhat bland. It doesn't feel anywhere near as exciting as I feel it could, coming from someone with the pedigree of Chabrol. It was feels quite run of the mill for the most part, bolstered by strong performances from the leads that are nonetheless playing somewhat distant and dislikable characters, quite alienating the viewer from the emotions of the characters - in fact, other than a period of Gabrielle's devastation, it is damned hard to see any real emotion from the characters. Even Paul, who seems to wear his heart on his sleeve, often seems insincere, as though he has ulterior motives - which wouldn't surprise me in the slightest.


This isn't to say it's a bad film. It is quite entertaining to watch, the film compels your attention and keeps moving forwards. It's just a bit average, a bit run of the mill. There isn't anything here that particularly grabs your attention and emotion. It spends a perfectly pleasant couple of hours in front of you and then disappears again. 2.5 stars.

Pianos & Porn.

Have I mentioned today how much I love Isabelle Huppert? No? Well there is no time like the present. And combine Huppert with Michael Haneke - glory.


The Piano Teacher (or La Pianiste) obviously clicked, with the Cannes jury at least - Huppert won Best Actress (her second such recognition from the festival), her costar Benoît Magimel won Best Actor and Haneke won the Grand Jury Prize. Based on Elfriede Jelinek's novel, the film centres around the horrifyingly sexually repressed piano teacher Erika (Huppert) and her relationship... well, with the world around her, manifested in a gifted pupil Walter (Magimel.) Erika, in her forties, lives at home with her mother, even sharing a room. She frequents video rooms in sex shops, even sniffing discarded cum-soaked tissues as she watches. She cuts her genitals while sitting on the edge of the bath, right before dinner. And she is cruel and hard with her students.


She meets Walter, who falls for her cold distance due to her talent with the piano, and some glimmer of humanity and weakness he is able to discern within her. What he doesn't realise, however, is the twisted sadomasochism that takes the form of that weakness. Despite her attempts to distance him, Erika finds herself drawn into some sort of relationship, of sorts, with him, which sees her make public her desires for the first time, much to the horror of Walter. It is only later, when her dreams come true, that she realises how unpleasant they really are.


Huppert is extraordinary. She is always extraordinary, but here... here she is something else. She is so incredibly there, within this horrid creature that she plays, but managing to imbue Erika with the frailty of her own fear and shame. Rather than hating her tormenting ways, from the get-go you feel sorry for whatever has driven our protagonist to this point in her life.


Magimel does a fine job opposite Huppert as the young, beautiful, precocious but ultimately arrogant and unaware student of music. He was good, though whether I'd plant him as the best of the fest I don't know. Having said that, I can't actually be bothered looking up who else was in contention, so we'll let him have it, shall we?


Haneke does his twisted thing so well, and he does it again beautifully here. Erika is a tough cookie, very mean and dark and often shocking, but Haneke, of course, doesn't ever flinch away from showing her, from emoting with her and discovering empathy for her. He's not afraid to open the door to each of our hearts and remind us that, somewhere inside, we are all as desperate as she is. Cinematographer Cristian Berger shoots the film coldly and clinically to match the leading character, the first collaboration between Haneke and Berger before Hidden and The White Ribbon.


Riveting, striking and quite shocking, The Piano Teacher is high on my list of favs of the last decade. Haneke is pretty damn good, and Huppert is pretty damn amazing. 5 stars.