LA TOURNEUSE DE PAGES (THE PAGE TURNER)

France, 2006, 85 minutes, Colour.
Catherine Frot, Deborah Francois, Pascal Greggory.
Directed by Denis Dercourt.

This brief and atmospheric drama reminds us how much can be packed into 85 minutes by a skilled director. Denis Dercourt is not only a film-maker but has been a viola soloist with the French Symphony Orchestra (1988-1993) and teaches viola and chamber music at the Strasbourg Region National Conservatory. He brings his musical, writing and directing talents together most effectively in this story of music and obsession.

The film initially focuses on 12 year old Melanie, daughter of butchers, their pride and joy, especially in her talent at the piano. When she goes for her exam, something seemingly petty happens – but it changes her life and the life of the president of the judges. Melanie deliberately gives up the piano and broods.

When she gains an internship with a reputable lawyer, she has the opportunity to act as a companion for his wife and son. The wife is a famous pianist, recovering from a car accident and trying to regain her courage. Sweetly and quietly, Melanie becomes not only part of the household, she forms a bond with the son and becomes the wife’s page-turner. Not exactly the stuff of action drama! Nevertheless, given the psychological background to Melanie’s ingratiating herself with the family, it becomes quite a gripping study in obsession and revenge. Without a blow being struck (except for the viola wound to the player who makes unwanted advances), this is very cool-blooded revenge.

The performance of Deborah Francois is a perfect blend of gentility and malice. Audiences may remember her powerful role as the young mother in the Dardennes Brothers’ The Child. Catherine Frot matches her as the pianist.

The overall plot reminds us of those dramas where a stranger enters a household and transforms (for the worse) the life of each member of the family (from Joe Orton’s Entertaining Mr Sloane to Pasolini’s Teorema). This version is low-key and subdued but nonetheless effective in portraying malevolence and cruelty.

1.The impact of this brief film? As drama? Revenge? Bloodless – but complete?

2.The setting, the small town, the butcher shop and home, the contrast with the lawyer’s office, the wealthy home, the radio theatres, concert halls? An authentic feel, realism?

3.The musical score, the pieces for the different characters? The concerts?

4.The background of Melanie, aged ten, determined, love for music, the bust of Beethoven? Her practising during the credits? Her relationship with her mother, her mother’s support? Her father ignorant, but liking to listen to his daughter playing? The background of the butcher’s work? The finding of the money to support Melanie whether she passed or failed her exams?

5.Going to the recital, her expectations? With her mother, waiting, the other girls practising? Her performance? The interruption, the response of the judge, signing the document? Melanie stopping playing, looking at the judge? The judge urging her to continue? Her composure disturbed, her failing, the reaction of the board? Her simmering anger, exit, slamming the piano top on the fingers of the girl? With her mother?

6.Ten years later, the festering of this hurt? Her going to the lawyer, the interview, offering to work? Her diligence? The opportunity to babysit Tristan?

7.Going to the house, being introduce to Ariane? To Tristan? Her duties while the father was away? Listening to Ariane and her practice, turning the page? Ingratiating herself with the family, looking after Tristan? Tristan and his holding his breath underwater – and Melanie holding his head down and then telling him he broke his record? The cello player – his advances, her stabbing his foot with the base of the cello? Her seeming innocence? Ariane and her dependence on Melanie? Going to the radio concert, Melanie’s support, turning the pages?

8.Ariane, her age and character? Her relationship with her husband, with her son? Her being in the car accident, losing her confidence? Her practising? Her friendship and discussions with Virginie? The cello player and the clashes? The American agent? The concert, her nervousness, buying Melanie the dress? The success of the performance, her dependence on Melanie? The preparation for the recital for the American? Melanie and her meeting the young man in the shop? Ariane observing? The build-up to the audition, Virginie and her suggestions about Melanie? Ariane and her determination? Her concert, Melanie not turning up, the poor performance? Melanie and her looking in, standing outside? Ariane and her disappointment?

9.Virginie talking with Ariane, Ariande disturbed, her infatuation with Melanie? Melanie asking her for the autograph, for the photo? Her leaving the photo on the husband’s desk for him to find?

10.The husband’s return, Tristan and his preparing for the performance, Ariane and her hoping for a new lease of life? Telling Melanie that she had enlivened her? Melanie’s early disappearance from the house? The husband finding the envelope, reading the note on the photo? His looking at his wife?

11.Melanie walking away – revenge completed? The coldness of her revenge? Malevolence personified?