L’IVRESSE DU POUVOIR (COMEDY OF POWER)

France, 2006, 110 minutes, Colour.
Isabelle Huppert, Francois Berliand, Patrick Bruel, Marylyne Canto, Robin Renucci, Thomas Chabrol.
Directed by Claude Chabrol.

Claude Chabrol is, perhaps, the longest surviving French director whose films are always welcomed and who screens regularly at festivals. His first feature film, Le Beau Serge, was released in 1958. Chabrol has almost half a century of significant cinema achievement. (He is the same age as Clint Eastwood.)

Chabrol has specialised in human dramas which have explored French society, French ethics and morals, family life, commitment and betrayals as well as French politics. And, generally, he has done this with his skills honed in so many crime dramas. L’ Ivresse de Pouvoir has been translated as “Comedy of Power” whereas a more accurate and telling translation would be “The Intoxication of Power”.

Chabrol is up-to-date in commenting on powerful corporations, their deals, their perks for bosses, corruption and double standards whether it be French-based companies or US companies like Enron. The film is, therefore, relevant to France but has universal interest.

We see a number of officials from a multination company exploiting their power, their political connections, their brokering deals (with huge commissions that they see as part of the rules of the game) with African nations, as well as their indulging in a luxury lifestyle. They are obviously intoxicated by power.

But, the focus is on the judge who is investigating these men and trying to expose them and bring them down. She also becomes intoxicated with power. The judge is played by Isabelle Huppert (who has worked for Chabrol in seven films over the decades). Isabelle Huppert looks much the same in every film but she has the extraordinary talent for transcending how she appears and creating completely different characters in each film. She can be mousey, she can be devious, she can be imperious. This time, she is both earnest and arrogant in her work (and sees herself as something of a fashion plate as well).

Overall, she is confident. She is extraordinarily direct in her interrogations and puts the fear of God into her enemies. But, will she ultimately succeed? Can she succeed, given the ingrown culture of corruption? A further question, behind the scenes, is how will her success affect her marriage and her love for her husband? And what of her nephew who comes to stay and in whom she can confide? And of the young woman imposed on her as an assistant? And of her judicial superior?

Chabrol likes to raise questions like this. He is skilful at creating rounded characters who are interesting. He is also a confident storyteller as well as an observer of French life and pretensions for almost 50 years. L’Ivresse? de Pouvoir fits will into his CV.

1.The work of Claude Chabrol over fifty years? French dramas? French themes? The world of crime? The world of law, justice? His portrait of French people – and his variations on his themes?

2.A world of interiors, offices, homes, apartments? Very few exteriors? The musical score and its mood?

3.The titles, the French meaning the intoxication of power? The English and a comedy of power – what kind of comedy?

4.The prologue, Humeau and his personality, his office, his staff, the set-ups, his allergy and itch, the CEO, his planning the weekend away, home, mistress, clothes, accounts? His sudden arrest?

5.The situation of the corrupt dealings, the companies, the senator and the political discussions? Overseas and bribes, funds and rake-offs? Corrupt oil business? Business and perks? Prosecution, expose? Moles in the investigator’s office? Ultimately fixing things on the surface – but the same people reorganising themselves? The cynical perspective at the end?

6.The portrait of Jeanne Charmant-Killman? The pun in her name? The image and view of the piranhas? The fish and its tongue? Her age, experience, talent? As a judge? Her personality, her clothes and style, her gloves? Direct in her comments and questions, wry? Working we Benoit, over the time – and the revelation that he was the mole? Her husband, his watching TV, his scientific work and reputation, his reactions to his wife? Tiredness? Tensions in the sexual relationship? Jeanne and her work at night on the computer? Always diligent? Her interviews? Her composure? The files, the search warrants, going into people’s homes? Giving details to the officials? Her inability to talk to Philippe? Her being able to discuss matters with Felix? Her security, the guards? Her having Erika to work with her? The initial tension? Their collaboration? Philippe leaving her, her staying in the hotel? The authorities, the threats, the graffiti? Her discussions with Sibeaud, his safe and her coming in with the warrant? After the past familiarities? The man in charge, discussions, taking her off the case – and her bitter retort about balls? The hospital, Philippe’s suicide attempt? Erika and Felix? The finale? What had she achieved? What could she achieve? Her humiliation? The strong performance by Isabel Huppert?

7.The range of interviewees, Humeau and his fear of prison, his allergy, the deception of his wife, the mistress and her reaction, the money? Holeo and his suave manner, pretending ignorance, using the heart attack to get out of the interview? Voldi, seeing him in discussions with others, his caving in, giving information? Sibeaud becoming the CEO, his not expecting to be interrogated, officials and their lack of expectations from him? His shock and reaction to the judge’s interventions? Their characters, the deals, the consequences?

8.The powers-that-be, the meetings, plush hotels, restaurants, cigars? The senator? The set-up and the discussions about getting rid of the judge? Disconnecting themselves from frauds, denials, lies – and setting up again?

9.The interweaving of Jeanne’s personal life and her relationship with Felix and Philippe with her work? The consequences?

10.Philippe, his love for his wife, the story of the background, her being the daughter of the maid, marrying the wealthy man? The compulsion for her own rise in the legal system? Maintaining her authority? Philippe, being referred to as the judge’s husband? His desperation, her coldness, Felix in the house? His attempted suicide?

11.Felix, the nephew, friends with Philippe and Jeanne, coming to stay, his lifestyle, confidant for Jeanne?

12.Erika, the assistant, suspicions leading to trust? The interviews? Her being appointed to take over the case? The irony of Benoit, his devotion – but yet his giving information to the officials?

13.The French business background, corruption? Not just French but universal? The response to the film depending on audience attitude to big business, perks, corruption? Accepting that this is how things are? In the French scene, international scene?