Roman de Gare
The cinematic suspense thriller has multiple subtypes (film noir, political, action, psychological, etc), but to describe Roman de Gare, I’m going to cleave thrillers down the middle (with a blade custom-sharpened for such eviscerations) into “modern” and “old-fashioned”.
Many “modern” cinematic thrillers favour shock elements and often resort to sex, sadism and gore. Since the 70s they’ve employed copious serial killers, jaded and/or maverick cops, and often predictable goodies and baddies. Consequently, most are B-to-Z-grade creations, and are twisty and suspenseful in the same way that hurtling down a crowded six-lane motorway on a motorbike with no helmet would be twisty and suspenseful.
In contrast, the “old-fashioned” suspense thriller tends to have less blood and more brains, employing the “less is more” approach. Think Hitchcock. Back in the old days you couldn’t show arterial spurts or even belly buttons, violence was implied and an artillery of more subtle devices built the tension, told the story and delivered the thrills. Stereotypes abounded, but great old-fashioned thrillers require skill. They are twisty and suspenseful in the way that being kidnapped and driven blindfold through remote territory would be twisty and suspenseful. The best old (and new) thrillers stand this side of the division.
Roman de Gare is an intriguing French thriller of the old-fashioned school, but in a modern setting.
Shortly after rich, beautiful best-selling author Judith Ralitzer draws media attention for her startling new thriller, she also draws attention from the police regarding her part in two deaths.
The history leading to the accusation begins to unfold. During an overlay of news reports announcing a serial killer/rapist’s ongoing crimes we find an engaged couple on the highway, travelling to introduce Paul to Huguette’s family in a remote hamlet. It’s not to be. The emotionally volatile, fractious and exhausting Huguette is abandoned by her boyfriend at a petrol station, where she is watched by a persistent stranger who offers her a ride.
Pierre, the driver (the familiar Dominique Pinon), claims he’s Judith Ralitzer’s ghost writer, though the news suggests he might also be the killer and/or a certain missing husband. He says he wants to make Huguette (a confessed Ralitzer fan) a character in their new novel, and impressed, she asks him to pose for 24 hours as her fiancé, and visit her family and estranged teenage daughter. He agrees, and the visit is seemingly successful until Pierre disappears for hours with her daughter, and the real fiancé turns up…
But that’s not really the story. In fact, at half time, even though the suspense is mounting, this ingenious tale takes a wholly different turn and has given away nothing. The man we suspect is a serial killer is creepy, but the woman we suspect is his victim is crazier than he is. As the elegant Ralitzer (Fanny Ardent) re-enters the story, we realise no one is quite who they seem. Even the deaths have no clear victims or perpetrators, either.
Watch it. You’ll understand what I mean.
My lasting impression of Roman de Gare is that you experience more than one movie. As the real one unfolds on the screen, another runs vividly inside your head as other possibilities and endings evolve and re-evolve in unexpected ways.
The three lead players are superb. Pinon and Ardent are seasoned professionals who handle the complexities with apparent ease, but newcomer Audrey Dana, as Huguette, earned a French Oscar nomination for her essential, connective performance.
The fact that writer-director Claude Lelouch’s Palme D’Or, Golden Globe and Oscar-winning career began in 1960 may account for his “old fashioned” thriller approach—and its quality. At 71, he’s still making mischief as well: in this movie about ghost writers, he appeared under a pseudonym until after its release, saying he first wanted it to be judged on its own merit.
Audiences and critics have judged very positively. This is clever, high-class entertainment.
Maria Polglase
Roman de Gare (m). The next screening at The Village Theatre will be on Sunday 9 August at 7.30pm.
