by Douglas Messerli
Claude Chabrol (dialogue), Paul Gégauff (writer)
(based on a novel by Stanley Ellin), Claude Chabrol (director) À
double tour (Leda) / 1959
Chabrol's work, in retrospect, while
sharing Hitchcock's fascination with psychologically-driven acts of mayhem and
murder, moves much more horizontally than Hitchcock's winding and spinning
narrative. By film's end, À double tour turns into a fairly
standard "who dunnit," as opposed to Vertigo's
incorporation of an entire society in Madeleine's and Judy's deaths. In
Hitchcock, murder is most often a societal act, a collaboration of several
individuals, often involving authority itself; while in Chabrol it remains the
province of the individual, or, in this example, an event within a family. The
absolution from personal confession, so important to Chabrol's early film, has
little significance to Hitchcock's work (with the exception, perhaps, of
his I Confess of 1953).
Indeed the Marcoux estate near
Aix-en-Provence, France, is, by and large, a private paradise, whose only
"outsiders" consist of Roger, the milkman—sexually teased, along with
the gardener, by Julie, the maid—and the Marcouxs' daughter Elisabeth's
fiancée, Laszlo Kovacs (wonderfully brought to life by a young Jean-Paul
Belmondo). Scandal is the worst fear of Marcoux's wife Thérèse (brilliantly
acted by Madeleine Robinson), and her bourgeois values are ultimately shared
with her daughter, son, and even, to a great extent, by her husband.
Although the affair is the center of
Marcoux and his wife's endless quarrels, they both delude themselves that their
grown children know nothing of it, despite the fact that at table in the
backyard Marcoux can be seen kissing his lover goodbye.
Life, nonetheless, might continue on as it
is were it not for the rambunctious anarchist who insistently commands Marcoux
to pack his bags and leave his wife behind and orders up full meals for his
lip-smacking delectation from the flirtatious Julie. One of his first acts of
the film is to undo his mother-in-law's knitting, forcing her to play a kind of
Penelope before Odysseus' voyage has even begun.
For a few moments Chabrol's film almost
seems that it will take up a theme similar to Pasolini's Teorema as
we glimpse that all in this family, save the harpy matriarch, are enamored by
the intruder. The father and his daughter both speak of their love for him. And
for a long period late in the movie, Laszlo stands with his arms draped over
the shoulders of the uptight mother's boy, Richard (André Jocelyn), who seems
quite at ease in the embrace until he self-consciously removes Laszlo's hand.
As the family comes together for what may
be their last supper, Laszlo ratchets up the unhappy family's hurts, until the
dam breaks as Julie suddenly runs in to report that Leda has been found dead,
murdered.
The police investigator quickly arrests
the least obvious of suspects, the milkman, as the viewer can't help but
feeling this is a huge mistake, and Laszlo, with the help of his uninvited
dinner friend Vlado, becomes convinced that he knows who the real murderer is.
Discovering the son Richard standing before what seems to be a funeral, while
serenaded by the music of Berlioz, Laszlo wrestles him into a nearby pond, in a
clearly homoerotic embrace, forcing him to admit Leda's murder. Richard claims
he has committed the act for his mother's sake. Lazslo, offering him another
kind of love, declares he will keep the secret within the family coven.
Thérèse, in what may be her most obviously
evil speech of the film, demands the family cover up the truth, but Laszlo and
Elizabeth urge Richard to tell the police what he has done, while Henri sits
passively, destroyed by what he conceives as "beauty's" death. We
realize that for him there will be no odyssey, no escape.
Gradually Richard perceives that he can
never be freed of his mother unless he admits his crime, and marches off like a
crippled Frankenstein to Leda's house. Madame Marcoux sits stoically,
comprehending, as Laszlo has told her earlier, her "reign" is over.
One can only hope that Elizabeth and
Laszlo may be able to transverse the worlds of their universe with the utter
abandonment of youth, but at least Laszlo has broken the dam of the family pent
up sexualities and emotions, offering, after all, like Pasolini’s vagrant
angel, a kind of angelic peace.
Los Angeles, September 24, 2010
Reprinted from World
Cinema Review (September 2010).
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