The Lacemaker (1977)

Purely Joyful Movie!

A Masterpiece!

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Moving and memorable psychological drama with outstanding performances. This seemingly simple tale tells us a lot about the way social class and background colour not just our habits and tastes, but our very being. And this influence is not always benign : often we become the owners of mindsets that blind us to the value, or the legitimate needs, of others.France is an apt setting for this kind of tale. On the one hand it is a country with a strict, a VERY strict, social hierarchy, on the other hand everybody is supposed to be free and equal (and, of course, very much in favour of freedom and equality). The resulting contradictions, compromises and tensions strew the landscape with snares for the vulnerable. Be warned : the movie is not a cheery one, it contains a deep tragedy. Dutch poet Werumeus Buning once wrote a poem about the life of roses being destroyed not through a storm, but through a soft, tender, delicate rainfall. The context of the poem is different but the image could very well apply to one of the lead characters, who meets good things - love, romance, emotional awakening, a bit of excitement - and, slowly but surely, gets damaged beyond recognition. All together : "The pleasure of love lasts but an instant, the grief caused by love can last a lifetime"...

To revisit this exquisite performance from Isabelle Huppert is to forgive her the sleaziness of some of her recent choices. Like the other posters I have just read here this film - or rather this performance - has remained vivid in my memory since I saw it first on television some years ago. I bought the DVD in Paris last March and have just got around to playing it. Unfortunately it is offered without subtitles but dubbed into several languages so that any non-French speakers who have yet to see it will almost certainly lose out. There's one semi major hurdle to get over but when and if that is accomplished this is a semi-masterpiece. The film was made in 1977 and there is nothing to say that it is not also set at that time yet we have a pretty 18 year old girl who admits to being a virgin and a courtship which would do credit to a repressed English couple of the 1930s/40s/50s rather than a FRENCH couple in the 1970s. There is an equal lack of Passion between Huppert and Yves Benyeton, in fact Kevin McCarthy lookalike Benyeton is SO wooden we can't help wondering if he is REALLY a pod who somehow strayed from the set of Invasion Of The Body Snatchers on to THIS set. Throughout the acting of Huppert is Magnificent and leaves everyone else for dead. Huppert is not only one of the most beautiful but also one of the most Intelligent actresses working today and the way in which she suppresses her natural intelligence to play a colorless, unambitious, low self-esteemed teenager is little short of incredible. Goretta has chosen to end with a shot of Huppert looking straight into camera with a completely expressionless gaze reminiscent of Garbo in the last shot of Queen Christina. Whether by accident or design it's a comparison that Huppert can more than justify. One of the all-time great film performances.

The Lacemaker, 1977, its oblique sexual politics appear dated twenty-five years later. Pascal Laine (author) and Claude Goretta would have us believe that the young male student's callowness leads to heartbreaking tragedy for Huppert's character. Twenty-five years later that assertion seems callow itself, and shallow political nonsense. Healthy young women are not so helpless. I understand the movie as a love story (intimate nudity is substituted for sex, and any love they may have shared we must take on faith) concerning two pathologically depressed people. They are drawn together by their mutual recognition and the hope that the other can alleviate their individual suffering. Of course, they discover that their depression prevents any real intimacy.

I understand that this is the film that brought Isabelle Huppert, already the accomplished veteran of over 20 films and yet just 22-years-old, to the forefront of the French cinema. It is not hard to see why. She is apple sweet in her red hair and freckles and her pretty face and her cute little figure playing Pomme, a Parisian apprentice hairdresser. She is shy about sex and modest--just an ordinary French girl who hopes one day to be a beautician. Along comes François (Yves Beneyton) a tall, handsome, young intellectual from a petite bourgeois family who sweeps her off her feet.They set up housekeeping and eventually he gets around to introducing her to his family. Alas, Mom finds the girl "decent," and ...well, it's rather predictable. You should watch. I've seen the story a number of times, and I find it rather painful, especially because in this case Huppert is so incredibly sweet and adorable. It is a naturalistic love story, like something from a nineteenth century novel, sad, compelling, bittersweet and ultimately tragic in an all too familiar way.Claude Goretta's direction is lean and finely cut, and he does a great job with Huppert. There are moments of pure genius, especially the stunning final shot in which Pomme suddenly turns to the camera, on her face a vaguely hopeful, enigmatic expression. It lingers just long enough so that we realize this really is the end, and the lights are about to come up. The shot is especially effective because we can see the posters from Greece on the walls that reveal that what she just told François was a kind of proud make-believe story. Also very well done without undue emphasis is the scene where Pomme goes to him at the window in their apartment, presenting herself to him, so to speak, her naked little self so vulnerable, and he is not interested. Nothing more need to be said. It is like the turn in a sonnet: everything changes.Without the beguiling child-like, but deeply experienced and finely expressed performance by Mademoiselle Huppert, this film would still be good, but nothing special. She carries the film: her timing, her intense concentration, her sense of who she is and how she feels at every moment is just perfect. She is exquisite.For those of you familiar with the work of Isabelle Huppert, this is a film not to be missed.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)