Amazon.co.uk Review
Arriving from the provinces to embark on his studies, naïve, plodding country cousin Charles (Gérard Blain) finds himself way out of his depth as he struggles to negotiate the niceties and posturing of Parisian student life in the fast lane at the end of the '50s. Try as he might, his stay at the home of his sophisticated, cynical, hard-living cousin Paul (Jean-Claude Brialy) turns into a harsh lesson in modern urban living. In almost every respect,
Les Cousins is the mirror image of Chabrol's depiction of rural France in his earlier film
Le Beau Serge. Brialy and Blain essentially reprise their roles in an urban context, and--despite some exemplary New Wave glimpses of Paris from speeding cars--
Le Beau Serge's extended flirtation with the documentary form is here ousted by crisp expressionistic cinematography and taut editing.
Les Cousins presents a fable about moral confusion as traditional French values come under threat from burgeoning post-war consumerism. Chabrol repeatedly foregrounds the superficiality of Paul's circle of friends, with their tastes for fast cars, expensive apartments, and militaristic ritual and guns. Meanwhile the lucid exploration of the overlap between hedonism and fascism in 1950s Paris serves as a sharp reminder of the deep roots of neo-fascist politics in contemporary France. --
Michael Witt
Synopsis
Charles is a hard-working student, while his cousin Paul only finds time for pleasure and none for studying. All is well until Charles falls in love with Florence and suddenly a rivalry develops. French dialogue.
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