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Le Beau Serge [VHS] [1958]
 
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Le Beau Serge [VHS] [1958]

VHS ~ Gérard Blain
5.0 out of 5 stars See all reviews (1 customer review)

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Product details

  • Actors: Gérard Blain, Jean-Claude Brialy, Michèle Méritz, Bernadette Lafont, Claude Cerval
  • Directors: Claude Chabrol
  • Writers: Claude Chabrol
  • Producers: Claude Chabrol
  • Format: Black & White, PAL, Subtitled
  • Language French
  • Classification: 12
  • Studio: Second Sight Films Ltd.
  • VHS Release Date: 10 Jul 2000
  • Run Time: 95 minutes
  • Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
  • ASIN: B00004U40A
  • Amazon.co.uk Sales Rank: 24,292 in Video (See Bestsellers in Video)

    Popular in these categories:

    #11 in  Video > World Cinema > Directors > Chabrol, Claude
    #29 in  Video > World Cinema > French > Directors
    #38 in  Video > Classic Films > International > 1950s

Product Description

Amazon.co.uk Review
On stepping off the bus from Paris, François (Jean-Claude Brialy) quickly registers that life in his native village, Sardent, has moved on. Beneath the calm surface, an explosive cocktail of gossip, boredom, and repressed sexuality has fermented. Ostensibly back to recuperate from a bout of tuberculosis, François soon embarks on an almost religious quest to save his former close friend Serge (Gérard Blain) from self-destructive despair and alcoholism, and so the film resonates with Christian overtones of suffering, redemption and salvation. But it's not long before François falls into the arms and bed of the voluptuous Marie (Bernadette Laffont), thereby fuelling the villagers' mounting hostility to what they widely perceive as intrusive meddling.

"You examine us as if we were insects", Marie complains to François. Director Claude Chabrol began his career as a film critic for Les Cahiers du cinema, and observations like Marie's also operate as a running commentary on cinema itself. Le Beau Serge was instrumental in setting the agenda for what a vibrant modern cinema might be and do, and it was precisely in relation to this film that the very idea of a nouvelle vague (New Wave) in French cinema was first proposed at the end of the 50s. The passionate cinephilia that fuelled this new cinematic adventure feeds the film's innovative mix of a quasi-documentary neorealism and flights of Hitchcockian melodrama.

Cinematographer Henri Decae provides stunning photography of rural France, and the film as a whole retains an extraordinary freshness: colloquial speech and local accent are juxtaposed with Emile Delpierre's score, and the carefully composed imagery is brought to life by a generation of actors whose faces have yet to acquire the iconic status they enjoy today in French cinema. --Michael Witt

Synopsis
Francois returns home from Paris to find his old friend Serge a changed man. He's an alcoholic with a marriage on the rocks and Francois is determined to help him - but will he do more harm than good?. French dialogue.

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5.0 out of 5 stars (1 customer review)
 
 
 
 
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1 of 1 people found the following review helpful:
5.0 out of 5 stars beautifull, 5 Mar 2004
By A Customer
In what is considered the first film of the French New Wave, Claude Chabrol gives us a hypnotic vision of opposites in the same style as Hitchcock's Shadow of a Doubt. Le Beau Serge follows the story of Francois, a young man who returns to his home town after twelve years, who finds that the town is dying. His landlady even tells him that everyone will be gone soon enough. In particular, he finds that a once-promising childhood friend, Serge, is trapped as an alcoholic in a loveless marriage.

The brilliance of the film lies not in its storytelling (it is quite slow at parts) nor its acting (most of the actors were non-professionals) but in its structure. Everything is seen in doubles. Francois and Serge are two sides to the same coin. Each has an elder counterpart. Each has a female relation which seems to switch off at times. Serge has both a wife and a mistress who is at one point Francois girlfriend; at the same time, Serge's wife becomes morally attached to Francois. In addition, scenes are doubled; two scenes in the cemetary, two implied sexual scenes in Glomaud's home, two turns by Francois and Michel at the beginning, the list goes on and on. Furthermore, entire shots are doubled with different couples in each. It is brilliant.

In addition, the film looks as if it were unpolished (which is a basic tenet of the New Wave), but it looks as if it was a director's first attempt. But that's not necessarily a bad thing.

The greatest detraction (apart from the sometimes overacting) is the musical score. It is extremely discordant with regards to the movie. Minimal scenes such as Serge exiting his house are accompanies by percussion that sounds as if it were a harbinger of doom. I don't know if Chabrol wanted this, but it becomes irritating and causes the viewer to laugh at the film.

As an added note, watch for the parallels of Francois and Serge with the town's children. The kids pop up everywhere

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