FOLIES BOURGEOISIES
France, 1976, 107 minutes, Colour.
Bruce Dern, Stephane Audran, Sydne Rome, Jean- Pierre Cassel, Ann- Margret, Maria Schell, Francis Perrin, Sybil Danning, Charles Aznavour, Curd Jurgens, Thomas Milian.
Directed by Claude Chabrol.
Folies Bourgeoises is something different for Claude Chabrol. Chabrol has made a long career of making interesting crime dramas, scenes of the bourgeoisie, families, marriage, commitment, fidelity and infidelity. However, he tries something a bit lighter this time, even some farce. The basic themes are there – even to fantasies of crime and violence. He employs an American cast including Bruce Dern and Ann- Margret. The leading lady is his then wife and star of many of his films, Stephane Audran.
The film is interesting for its characterisations, interactions – but lacks the force of so many of Chabrol’s tighter crime dramas.
1. The work of Claude Chabrol? French New Wave? His work over several decades? His interest in crime? Relationships, murder? Guilt and responsibility? Qualities of observation? Satire? Serious view of life ? with 1rony? Relationships, responsibilities? Guilt and innocence? Repentance? How present were these themes in this film?
2. The title and its focus? The original novel? The alternate export title ? The Twist?
3. The use of American stars? French stars? English dialogue? The contrast between American, French and Italian styles? A successful international film?
4. The emphasis on realism? The emphases on farce? Visualising of imagination and subjective fantasies? The use of musical themes - especially for Clare?
5. The familiarity of the plot ingredients? The use of the ordinary with intricacies of treatment and variations of response? Marriage, fidelity and infidelity? The world of publishing? Book competitions and reputation? Academia - studies, translations? The financial side of publishing? Public relations and parties? The comparisons with American celebrities, French celebrities? Social life and style? Affluence?
6. Clare, marriage, relationship with Billy? Natalie and her lover? Style, parties, deceit, suspicions ? and imaginative constructions? The detective? Break, jealousy, the house, the niece? The doctor? The theatre and the nudity? The possibilities of being left? Realities and possibilities of murder? Clare and the title of the film? Truth, mockery?
7. Billy and the contrast with his wife? American background, his self-image, self-deception? His book? The competition, party, tension? His winning the award? Friends? His writing, moods? Outings and walks? The relationship with Clare and its tensions? Charlie Minerva and her influence? Research? The possibilities? moving house, depression? Relationships with his publisher? Leaving home? The sexual imagination? The sequence at the Moulin Rouge and his imagining it all? the women in his life as sex objects? The reality of Billy's life, appearances? His needs, desires, fantasies? Relationships between men and women and Chabrol's mockery?
8. Natalie: at home, the modern young girl, affairs, Clare's advice, the boyfriend? Being wet, the circus? Marrying? Returning? Instability?
9. The publisher, his deceit, the affair, his advice? The parallelling with Billy and his situation?
10. Charlie Minerva and her glamour, work, her child? The audiences suspicious? Whether Billy would leave for her or not?
11. Fantasies of violence and murder? Fidelity and infidelity? The devices of the French farce? The devices of the murder mystery? Detectives, shadowing, false clues, clandestine meetings? Surface mockery but the reality of emotional tangles?
12. The mood of the film, sympathies and alienations? Expectations being broken? Laughter? The point of such a send-up of middle-class madness?
13. Themes of society, individuals? Fantasy and reality? Needs? Guilt and responsibility?
