31 reviews
The words 'adapted from a novel by Honore de Balzac' would suggest to most cinema-goers an example of French heritage cinema, like the excellent version of his 'Le Colonel Chabert' made with Gerard Depardieu in the early nineties. Although Balzac is often claimed by the French as their greatest novelist, he has not captured the imagination of the Anglo-Saxon reading or cinema-going public in the same way as some of his compatriots such as Hugo, Verne, Flaubert or Dumas. Apart from 'Cousin Bette', I am not aware of any other English-language feature films based on his works.
The story is set in the Paris of the 1840s. Bette Fischer is a middle-aged spinster who works as a theatrical costumer. She is not well-off financially and lives in a sparsely-furnished apartment, although she has more elevated social connections; her cousin Adeline, who dies at the beginning of the film, was married to the influential Baron Hulot. Bette, however, had little love for Adeline, as she was jealous of her cousin's beauty and of her marriage to a successful man. She falls in love with Count Wenceslas Steinbock, a young Polish sculptor who lives in the same apartment block, but loses her sweetheart to Adeline's pretty young daughter Hortense. Bette's dislike of the Hulot family now turns to hatred, and she plots her revenge. She forms an alliance with Jenny Cadine, an opera singer-cum-courtesan and a former mistress of the Baron, who has given her up in accordance with his wife's dying wishes. Jenny, with Bette's encouragement, tries to ruin the happiness of the young couple by seducing Wenceslas away from Hortense.
Those who are familiar with Balzac's novel will realise from the above summary that the film does not stick closely to its plot. Adeline, for example, dies at the very end of the novel, not at the beginning. The real villainess of the novel is not Jenny (who plays only a minor part) or even Bette (who is portrayed as pitiable as well as spiteful), but Valerie Marneffe, the scheming, hypocritical, gold-digging and thoroughly corrupt middle-class housewife who becomes the mistress of Hulot, Wenceslas and several other men. Valerie does not appear in the film at all; nor do Hulot's other mistresses. The film concentrates on the relationships between Bette, Wenceslas, Hortense and Jenny; Hulot, a major figure in the book, becomes less important in the film. The ending of the film, in particular, seems unsatisfactory. There is a confused attempt to tie the story of the Hulot family in with the revolution of 1848, an event that had not even taken place when the novel was written in 1846. This was probably inspired by the standard school textbook idea that the French Revolution represented a corrupt aristocracy getting its just deserts, but this interpretation seems to confuse the events of 1848 with those of 1789, and it is not one that is likely to have appealed to the conservative monarchist Balzac. The replacement of the constitutional monarchy of the amiable 'Roi Citoyen' Louis-Philippe with the regime of the unscrupulous adventurer Napoleon III was not the most glorious episode in French history.
Like some other reviewers, I felt that some of the roles were miscast. Jessica Lange, even in her late forties, was far too attractive for the role of the dried-up, embittered spinster Bette. (Balzac chose the name because of its similarity to the French word 'bete', meaning 'beast'). Bette's driving force is sexual jealousy of the beauty of other women, particularly of Adeline and Hortense, but Miss Lange's character is not a woman who would need to feel jealous of anyone. Kelly Macdonald's Hortense seemed too insipid. Hugh Laurie, in his late thirties at the time the film was made, was far too young for the role of Hulot. The character envisaged by Balzac was probably in his sixties and the father of two adult children. (Hortense has an elder brother, Victorin). Laurie, better known in Britain as a comedian than as an actor, plays Hulot as a largely comic figure, whereas in the novel he is a tragic one, a distinguished public servant ruined by his sexual passions and his financial improvidence.
The book forms part of the sequence of novels which Balzac intended as a close examination of French society and to which he gave the title of 'La Comedy Humaine'. Despite this title, most of the individual novels, 'La Cousine Bette' among them, are deeply serious rather than humorous, but the filmmakers here seem to treat the story as a black comedy. On the whole, in fact, this approach works well. The story moves along at a brisk pace, helped on its way by some witty songs. The title of one of these, 'Love is the Master, You are the Slave', is perhaps the best encapsulation one could wish for of the film in a single phrase; most of the characters are enslaved by their sexual desires. Jessica Lange may be physically wrong for the part, but she nevertheless throws herself into her role with gusto and makes a splendidly hissable pantomime villainess. Elisabeth Shue's singing voice is not really strong enough to make her convincing as an opera singer, but she is well able to convey Jenny's seductive charms. Unlike some, I found no difficulty with the fact that Bette and Jenny had American accents; both, after all, were originally peasant girls from Alsace-Lorraine (Bette's surname implies that her native language is probably German rather than French) and would not have spoken French with the Parisian accents of the other characters. There are some good performances in minor roles; Toby Stephens makes a suitably dull and priggish Victorin, a man who is the complete antithesis of his father, and Bob Hoskins is in superb form as the greasy businessman Crevel. The name is derived from 'crever', meaning to burst, and Hoskins's Crevel is a man positively bursting with his own self-importance. The film may take liberties with Balzac, but on the whole it is an enjoyable one which works reasonably well in its own right. 6/10
The story is set in the Paris of the 1840s. Bette Fischer is a middle-aged spinster who works as a theatrical costumer. She is not well-off financially and lives in a sparsely-furnished apartment, although she has more elevated social connections; her cousin Adeline, who dies at the beginning of the film, was married to the influential Baron Hulot. Bette, however, had little love for Adeline, as she was jealous of her cousin's beauty and of her marriage to a successful man. She falls in love with Count Wenceslas Steinbock, a young Polish sculptor who lives in the same apartment block, but loses her sweetheart to Adeline's pretty young daughter Hortense. Bette's dislike of the Hulot family now turns to hatred, and she plots her revenge. She forms an alliance with Jenny Cadine, an opera singer-cum-courtesan and a former mistress of the Baron, who has given her up in accordance with his wife's dying wishes. Jenny, with Bette's encouragement, tries to ruin the happiness of the young couple by seducing Wenceslas away from Hortense.
Those who are familiar with Balzac's novel will realise from the above summary that the film does not stick closely to its plot. Adeline, for example, dies at the very end of the novel, not at the beginning. The real villainess of the novel is not Jenny (who plays only a minor part) or even Bette (who is portrayed as pitiable as well as spiteful), but Valerie Marneffe, the scheming, hypocritical, gold-digging and thoroughly corrupt middle-class housewife who becomes the mistress of Hulot, Wenceslas and several other men. Valerie does not appear in the film at all; nor do Hulot's other mistresses. The film concentrates on the relationships between Bette, Wenceslas, Hortense and Jenny; Hulot, a major figure in the book, becomes less important in the film. The ending of the film, in particular, seems unsatisfactory. There is a confused attempt to tie the story of the Hulot family in with the revolution of 1848, an event that had not even taken place when the novel was written in 1846. This was probably inspired by the standard school textbook idea that the French Revolution represented a corrupt aristocracy getting its just deserts, but this interpretation seems to confuse the events of 1848 with those of 1789, and it is not one that is likely to have appealed to the conservative monarchist Balzac. The replacement of the constitutional monarchy of the amiable 'Roi Citoyen' Louis-Philippe with the regime of the unscrupulous adventurer Napoleon III was not the most glorious episode in French history.
Like some other reviewers, I felt that some of the roles were miscast. Jessica Lange, even in her late forties, was far too attractive for the role of the dried-up, embittered spinster Bette. (Balzac chose the name because of its similarity to the French word 'bete', meaning 'beast'). Bette's driving force is sexual jealousy of the beauty of other women, particularly of Adeline and Hortense, but Miss Lange's character is not a woman who would need to feel jealous of anyone. Kelly Macdonald's Hortense seemed too insipid. Hugh Laurie, in his late thirties at the time the film was made, was far too young for the role of Hulot. The character envisaged by Balzac was probably in his sixties and the father of two adult children. (Hortense has an elder brother, Victorin). Laurie, better known in Britain as a comedian than as an actor, plays Hulot as a largely comic figure, whereas in the novel he is a tragic one, a distinguished public servant ruined by his sexual passions and his financial improvidence.
The book forms part of the sequence of novels which Balzac intended as a close examination of French society and to which he gave the title of 'La Comedy Humaine'. Despite this title, most of the individual novels, 'La Cousine Bette' among them, are deeply serious rather than humorous, but the filmmakers here seem to treat the story as a black comedy. On the whole, in fact, this approach works well. The story moves along at a brisk pace, helped on its way by some witty songs. The title of one of these, 'Love is the Master, You are the Slave', is perhaps the best encapsulation one could wish for of the film in a single phrase; most of the characters are enslaved by their sexual desires. Jessica Lange may be physically wrong for the part, but she nevertheless throws herself into her role with gusto and makes a splendidly hissable pantomime villainess. Elisabeth Shue's singing voice is not really strong enough to make her convincing as an opera singer, but she is well able to convey Jenny's seductive charms. Unlike some, I found no difficulty with the fact that Bette and Jenny had American accents; both, after all, were originally peasant girls from Alsace-Lorraine (Bette's surname implies that her native language is probably German rather than French) and would not have spoken French with the Parisian accents of the other characters. There are some good performances in minor roles; Toby Stephens makes a suitably dull and priggish Victorin, a man who is the complete antithesis of his father, and Bob Hoskins is in superb form as the greasy businessman Crevel. The name is derived from 'crever', meaning to burst, and Hoskins's Crevel is a man positively bursting with his own self-importance. The film may take liberties with Balzac, but on the whole it is an enjoyable one which works reasonably well in its own right. 6/10
- JamesHitchcock
- Dec 16, 2004
- Permalink
"Cousin Bette" is a witty and deliciously mean-spirited black comedy. The operative term, however, is "mean-spirited," so this film is not for all tastes. Cousin Bette is victimized (at least in her own mind) by her selfish and unfeeling relatives. Based on a Balzac novel, the story follows Bette's attempts to find love and to get even with those she believes have wronged her. Things don't ever work out as Cousin Bette plans, but the lady proves she is adaptable. Jessica Lange, despite her beauty made me believe that she was an unattractive spinster. Bob Hoskins was, as always, excellent, as was Elizabeth Shue, who nearly stole the show. Good stuff. Recommended.
I'm not familiar with Balzac's novel, but I've read a ton of Romantic literature. And this is one of its classic variations (The virtuous are redeemed). I would never have selected this movie myself (friends did) but I enjoyed it. If I described this as Madame Iago, you'd have the entire plot. Nothing is quite so much fun as watching someone who's been disrespected revenging herself on a crowd, especially after how needlessly cruel they've been. Since the playing field will never roll the arrangement back in Bette's favor, why not just destroy everyone? It's like a bomb went off when she's done. I am in no way a fan of Lange, but she's adequate (while looking distressingly like Jim Carrey in drag).
On the minus side, the lead-up to the 1848 Revolution is trivialized. The writing is extremely weak (Point A is always too overtly connected to Point B), and the lighting of every scene is too brazen. The accents are all over the place, which becomes very distracting.
On the minus side, the lead-up to the 1848 Revolution is trivialized. The writing is extremely weak (Point A is always too overtly connected to Point B), and the lighting of every scene is too brazen. The accents are all over the place, which becomes very distracting.
- onepotato2
- Jan 5, 2005
- Permalink
Every once in a while, a movie comes along that lets one revel in emotions that are generally frowned upon in genteel society. Revenge is one such emotion, and the very black comedy Cousin Bette deals it out in generous portions.
Bette (Jessica Lange) has always lived in the shadow of her more beautiful sister, Adeline. Adeline was always prepared for marriage and society, while Bette became a virtual servant for her family. To make matters worse, Adeline marries the one man Bette loves, the Baron Hulot. The film opens with Adeline on her death bed, listening to the confessions of her adulterous husband and spendthrift son. She makes Bette promise to take care of her family. The malicious grin on Bette's face lets us know what is coming. Bette orchestrates her revenge on each member of the family, with a cunning her family never suspected.
Part of what makes this film so delicious is that none of the characters are really very likeable, but they are all very interesting and well drawn. Even Bette is not someone you would want to welcome into your own family (although she'd make a fascinating guest at a dinner party). The only character who fares even mildly well is Cesar Crevel (Bob Hoskins). A merchant who has become the wealthiest man in Paris, he is attempting to buy his way to respectability. He is at least without pretense, even going so far as to offer 200,000 francs to see Hortense Hulot (the Baron's daughter, played by Kelly MacDonald) naked.
The story follows Bette's attempts to destroy the Baron and his family by manipulating them in their love affairs. The marriage of Hortense is expected to save the family financially, hence the appearance of Crevel. But Hortense loves the penniless Count Wenceslas Steinbach (Aden Young), a sculptor. Meanwhile the Baron has been borrowing from everyone in Paris to keep his mistress, Jenny Cadine. Bette controls all of the characters like a Grand Master.
The backdrop to the film is the decay of the French aristocratic society. Resting on the laurels of the Empire of Napoleon, oblivious to the coming revolution (the film begins in 1846), and in complete denial of the changes around them, we actually cheer for Bette as she systematically destroys the Hulot family. In a way it's the revolution carried out from within, making the fall all the more sweet.
This film is really exceptional. My only criticisms would be that (1) Elisabeth Shue as the famous actress/courtesan Jenny Cadine is merely adequate, (2) it is almost impossible to imagine the stunning Jessica Lange as the "plain" sister, and (3) the characters' accents tend to vary from time to time. The script is intelligent, clever, and realistic. The acting is very strong all around, especially by Lange. Hoskins is terrific, hitting just the right note of a materialistic man trying to be a nobleman, but not quite getting it. The locations and sets are lush and as decadent as one would expect. The direction of Des McAnuff is crisp and assured, the pace even and well controlled.
Bette (Jessica Lange) has always lived in the shadow of her more beautiful sister, Adeline. Adeline was always prepared for marriage and society, while Bette became a virtual servant for her family. To make matters worse, Adeline marries the one man Bette loves, the Baron Hulot. The film opens with Adeline on her death bed, listening to the confessions of her adulterous husband and spendthrift son. She makes Bette promise to take care of her family. The malicious grin on Bette's face lets us know what is coming. Bette orchestrates her revenge on each member of the family, with a cunning her family never suspected.
Part of what makes this film so delicious is that none of the characters are really very likeable, but they are all very interesting and well drawn. Even Bette is not someone you would want to welcome into your own family (although she'd make a fascinating guest at a dinner party). The only character who fares even mildly well is Cesar Crevel (Bob Hoskins). A merchant who has become the wealthiest man in Paris, he is attempting to buy his way to respectability. He is at least without pretense, even going so far as to offer 200,000 francs to see Hortense Hulot (the Baron's daughter, played by Kelly MacDonald) naked.
The story follows Bette's attempts to destroy the Baron and his family by manipulating them in their love affairs. The marriage of Hortense is expected to save the family financially, hence the appearance of Crevel. But Hortense loves the penniless Count Wenceslas Steinbach (Aden Young), a sculptor. Meanwhile the Baron has been borrowing from everyone in Paris to keep his mistress, Jenny Cadine. Bette controls all of the characters like a Grand Master.
The backdrop to the film is the decay of the French aristocratic society. Resting on the laurels of the Empire of Napoleon, oblivious to the coming revolution (the film begins in 1846), and in complete denial of the changes around them, we actually cheer for Bette as she systematically destroys the Hulot family. In a way it's the revolution carried out from within, making the fall all the more sweet.
This film is really exceptional. My only criticisms would be that (1) Elisabeth Shue as the famous actress/courtesan Jenny Cadine is merely adequate, (2) it is almost impossible to imagine the stunning Jessica Lange as the "plain" sister, and (3) the characters' accents tend to vary from time to time. The script is intelligent, clever, and realistic. The acting is very strong all around, especially by Lange. Hoskins is terrific, hitting just the right note of a materialistic man trying to be a nobleman, but not quite getting it. The locations and sets are lush and as decadent as one would expect. The direction of Des McAnuff is crisp and assured, the pace even and well controlled.
- Phoenix-36
- Dec 29, 1998
- Permalink
GOOD. Pleasant satirical comedy to watch. Set at the end of the first half of the 19th century, it has great costumes, renowned actors, and an excellent soundtrack. By the way, the soundtrack is filled with great classics of classical music from that period. The script is well constructed and intelligible with lots of satire and sarcasm. The pace of the film is very busy, with the succession of several events every minute. I gave it a 7 because I didn't see anything extraordinary, exceptional, captivating, exciting, or different from other better films that I have seen that could elevate it. As for my recommendation to IMDb moviegoers, yes, I recommend it.
- willians_franco
- Aug 11, 2020
- Permalink
One may shudder as Cousin Bette pursues her relentless machinations for revenge because of spurned love, but a chuckle is always bubbling somewhere beneath other emotions. Some patience is needed, however, to savor the good qualities of the film. Cast, story, suspense are all to the good, but the editing is about as bad as it gets among contemporary films, and the photography is only marginally acceptable. I reached for the remote more than once, but finally stuck it out to the end. Jessica's performance was worth the other miseries.
The plot is complicated, too much so to describe in 1,000 words. Let's just say Cousin Bette is a tale of familial revenge set in 1840s Paris. Cousin Bette is the spinster aunt of a large wealthy family in the throes of loosing it all; money, dignity and respect. As they struggle, Bette (Lange) weaves her plots, many of which go astray working unintended consequences. This is a delightful black comedy that I liked very much, more so than most reviewers and commentators. If you have a predilection for this kind of movie, jump right in.
I found most of the movie enjoyable, but everytime that Shue was on screen it was a downer for me, and her attempt at singing brought a pained face on me.
- sarah_tops
- Jul 20, 2022
- Permalink
and just about everyone else. Who knew that deception, treachery, and revenge could be this tedious.
Although the period production design is reasonable, this film suffers from lax direction and the presence of an `international cast', with the resultant mix of accents and acting styles. Of the better known thespians, Geraldine Chaplin again demonstrates that she inherited her mother's looks but not her father's talent, whereas the best that can be said of Americans Elizabeth Shue and Jessica Lange is that they are woefully miscast.
As a courtesan, Ms. Shue exhibits about as much ability to drive men to ruin as a stale baguette, while a rosy-cheeked, unwrinkled Ms. Lange delivers a studied, monotone performance relieved only by occasional lapses into a southern accent.
This Gallic debacle left this reviewer wondering if the final musical sequence was indicative of a certain regard for the audience, and firmly convinced that bringing French literature to the screen is best left to the French.
Although the period production design is reasonable, this film suffers from lax direction and the presence of an `international cast', with the resultant mix of accents and acting styles. Of the better known thespians, Geraldine Chaplin again demonstrates that she inherited her mother's looks but not her father's talent, whereas the best that can be said of Americans Elizabeth Shue and Jessica Lange is that they are woefully miscast.
As a courtesan, Ms. Shue exhibits about as much ability to drive men to ruin as a stale baguette, while a rosy-cheeked, unwrinkled Ms. Lange delivers a studied, monotone performance relieved only by occasional lapses into a southern accent.
This Gallic debacle left this reviewer wondering if the final musical sequence was indicative of a certain regard for the audience, and firmly convinced that bringing French literature to the screen is best left to the French.
So what if this movie reminds of dangerous liasons, or cruel intentions or any other film for that matter! Now-a-days, good luck being completely original, when we live in the era when the Wayans brothers are bringing t.v.s The Munsters to the big screen, Yikes! The hard fact of the matter is that Jessica Lange is AMAZING (as always) and Elizabeth Shue is a delight. I really enjoyed the "Oh what a tangled web we weave" plot line and you will too if you give it a chance. The story is well written, and the performances are effortless. I usually don't care for period pieces and truth be told, I had to be forced to turn this one on...but I WAS SO GLAD I DID. The supporting cast is a hoot as well.
- miss_thing
- Oct 8, 2004
- Permalink
Period piece delving into matters of jealousy and consequences of holding a lifelong grudge, tinged with a bit of humor and witty remarks at times.
- pangipingu
- May 28, 2020
- Permalink
God awful dramatization of Balzac's story of the same name. Lange and Shue are dreadfully miscast, and the script writer completely failed to capture this wry and bitter tale.
If you want to see this story with real meat on its bones, try finding a copy of the 1971 Masterpiece Theatre production. Margaret Tyzack makes Jessica Lange look like milk toast.
If you want to see this story with real meat on its bones, try finding a copy of the 1971 Masterpiece Theatre production. Margaret Tyzack makes Jessica Lange look like milk toast.
- badgirlkane
- Oct 25, 2003
- Permalink
This could've (and should've) been a devious black comedic romp through the stiff-collared 1800s. If only the editor of the trailer could have a whack at the whole feature.
Jessica Lange is fine in a restrained performance of cousin Bette, a matronly woman who has been in love with her cousin's husband. When her cousin dies, she attempts to take her place and accepts the man's proposal. It's not a marriage proposal, as she believed, but a proposal that she be the children's governess.
This builds the seamy hatefulness in her heart and she begins to manipulate and turn family and community members against each other. All to make someone love her.
The supporting cast offers a mixed bag of performances. Bob Hoskins is winning as the lecherous, but rich old man who seeks the young daughter of Bette's cousin. Elizabeth Shue sometimes seems like she's just wandered off the set of Showgirls. The moody young artist is about as easy to care about as anyone from MTV's the Real World.
The final shot (of Elizabeth Shue in a habit, turning around to expose her butt), although hilarious, just doesn't work. It's just slapped right on the end of the film. Had the narrative structure throughout the script drawn parallels between the show and the show with the show, it might have worked. Introducing this idea only in the final shot simply makes the filmmaking self-conscious, and shows off the uneven creativity of the film itself.
Jessica Lange is fine in a restrained performance of cousin Bette, a matronly woman who has been in love with her cousin's husband. When her cousin dies, she attempts to take her place and accepts the man's proposal. It's not a marriage proposal, as she believed, but a proposal that she be the children's governess.
This builds the seamy hatefulness in her heart and she begins to manipulate and turn family and community members against each other. All to make someone love her.
The supporting cast offers a mixed bag of performances. Bob Hoskins is winning as the lecherous, but rich old man who seeks the young daughter of Bette's cousin. Elizabeth Shue sometimes seems like she's just wandered off the set of Showgirls. The moody young artist is about as easy to care about as anyone from MTV's the Real World.
The final shot (of Elizabeth Shue in a habit, turning around to expose her butt), although hilarious, just doesn't work. It's just slapped right on the end of the film. Had the narrative structure throughout the script drawn parallels between the show and the show with the show, it might have worked. Introducing this idea only in the final shot simply makes the filmmaking self-conscious, and shows off the uneven creativity of the film itself.
They're both set in France, they both have people behaving badly, and both have wise women running the show behind the scenes. Beautiful settings and costumes. Elisabeth Shue is very good, and I REALLY liked Jessica Lange. Enjoy!
- AlabamaWorley1971
- Mar 15, 2000
- Permalink
- mark.waltz
- Apr 4, 2017
- Permalink
A great film, with wonderful performances from all, especially Lange, who plays her role so delicately that the viewer is never able to get the sort of hold on Bette that would do injustice to the novel. The most remarkable thing about this film however is Elisabeth Shue's singing which is... odd. But this is all in all a brilliant film with a depth of character and strength of plot (the ending leaves one empty for days) that makes it highly rewarding.
- Mrs Lovett
- Apr 23, 1999
- Permalink
This movie is alright if you've got the remote in your hand in order to speed up the many painfully slow shots of people walking. (Perhaps I could have appreciated the photography more if the music wasn't so overbearing throughout).
I really like Elisabeth Shue, but her lines were especially unnatural sounding. You can't make Jessica Lange look plain - it's not possible. But, kudos for trying.
Most of the acting was actually fine, but the story line and some of the editing choices kept this movie from ever achieving any real since of rhythm.
I really like Elisabeth Shue, but her lines were especially unnatural sounding. You can't make Jessica Lange look plain - it's not possible. But, kudos for trying.
Most of the acting was actually fine, but the story line and some of the editing choices kept this movie from ever achieving any real since of rhythm.
Most costume dramas about a poor relation follow a similar trail: The poor one, filled with high expectations and good intentions, gets the money and true love by suffering through a series of pitfalls, only to be winking at the audience by the ending credits. Our Cousin Bette gets there, but she chooses another road, perhaps more hazardous, but infinitely more entertaining for us.
This fascinating tale is about a relative who is treated poorly by everyone in her aristocratic family, while they themselves live in debt, denial, and high fashion. Jessica Lange plays the title character with a cynical smirk, as though she's daring every one to call her out, yet she knows – only too well - that people are so consumed by their own personal dramas that they ignore the fine details.
Described as "the bad seed who refused to blossom", Bette is the sister of Adeline, who languidly takes her time dying, while instructing her spinster sibling as to what flowers to lay on her casket. One look at the two – Adeline in her death-bed finery and Bette, in a basic drab dress, devoid of any adornment – and it's all too evident where the balance of power resides.
Bette: (to Jenny) "How could you know? You don't know who I was sacrificed to – to Adeline. They slapped me and caressed her. I went dressed like a wretch and she like a fine lady. Adeline, the garden, peel the vegetables, Bette. She never lifted a finger except to tie her ribbons."
Describing herself as a "country peasant", Bette lives in the slums of Paris, working as a costume seamstress to the reigning burlesque star of the day, Jenny Cadine (played by Elizabeth Shue), who vainly shows off her derrière before every final curtain is rung down. Jenny puts off the ticking clock of time by enjoying the attentions of her many rich – and generous - admirers, yet one fateful day encounters her worst nightmare.
Jenny: "I'm 24 I may as well be dead."
Bette: "You were 24 years old yesterday and it didn't seem to bother you then."
Jenny: "Today, while I was walking in the park, I came across a hideous old woman, face swollen and scratched; she stank of stale wine and sweat. In her filthy tresses she had placed a beauty patch, one red camellia I knew at once who she was - she was known as Carabine, the most famous courtesan in Paris. Everyone envied her dazzling shoulders, her milky skin. She had a neck so smooth it might have been turned on a lathe. Her trademark was a red beauty patch, a red camellia."
'Carabine? Is that you?', I asked.
'No, there is no Carabine, she has left me.'
Originally a novel by French author, Honore de Balzac, this modern version boasts an international cast of talent. Bob Hoskins (Cesar Crevel), Hugh Laurie (Baron Hector Hulot), Aden Young (Wenceslas), Kelly Macdonald (Hortense Hulot), and Geraldine Chaplin (Adeline Hulot) all twist and turn in time to Bette's song of vengeance. Set in Paris, during the pre-revolutionary period of 1846, screenwriters Seifert and Tarr turn Balzac's morality tale into a microcosm of the class resentments barely simmering just beneath the pearls and petticoats of Bette's shadow world. Yet she's nothing if not flexible, as she revises her best-laid plans in the face of cross and double-cross by family and high society associates alike.
Bette: "I'll see them – all of them – in the dust! We're both daughters of the soil, and blood of the voge, and do you trust me, as a sister?"
Jenny: "Yes "
Bette: "And will you help me, as you would a sister?"
Jenny: "Yes "
Bette: "Then you will be the ax and I'll be the hand that wields it."
Surrounded by people with their own notions of power, Bette plays nonstop Powernoply until she wins all, while the French Revolution rages. She's able to play upon the passions of her tormentors and deftly manages to wreck her subtle brand of ruthless revenge upon one and all, causing adultery, a duel, physical illness, embezzlement, financial ruin, imprisonment in the Bastille, and a crime of passion - all of which sees her contentedly sewing in the grand house, dressed in her own silken finery, cooing to a child who's the product of this genteel carnage.
This fascinating tale is about a relative who is treated poorly by everyone in her aristocratic family, while they themselves live in debt, denial, and high fashion. Jessica Lange plays the title character with a cynical smirk, as though she's daring every one to call her out, yet she knows – only too well - that people are so consumed by their own personal dramas that they ignore the fine details.
Described as "the bad seed who refused to blossom", Bette is the sister of Adeline, who languidly takes her time dying, while instructing her spinster sibling as to what flowers to lay on her casket. One look at the two – Adeline in her death-bed finery and Bette, in a basic drab dress, devoid of any adornment – and it's all too evident where the balance of power resides.
Bette: (to Jenny) "How could you know? You don't know who I was sacrificed to – to Adeline. They slapped me and caressed her. I went dressed like a wretch and she like a fine lady. Adeline, the garden, peel the vegetables, Bette. She never lifted a finger except to tie her ribbons."
Describing herself as a "country peasant", Bette lives in the slums of Paris, working as a costume seamstress to the reigning burlesque star of the day, Jenny Cadine (played by Elizabeth Shue), who vainly shows off her derrière before every final curtain is rung down. Jenny puts off the ticking clock of time by enjoying the attentions of her many rich – and generous - admirers, yet one fateful day encounters her worst nightmare.
Jenny: "I'm 24 I may as well be dead."
Bette: "You were 24 years old yesterday and it didn't seem to bother you then."
Jenny: "Today, while I was walking in the park, I came across a hideous old woman, face swollen and scratched; she stank of stale wine and sweat. In her filthy tresses she had placed a beauty patch, one red camellia I knew at once who she was - she was known as Carabine, the most famous courtesan in Paris. Everyone envied her dazzling shoulders, her milky skin. She had a neck so smooth it might have been turned on a lathe. Her trademark was a red beauty patch, a red camellia."
'Carabine? Is that you?', I asked.
'No, there is no Carabine, she has left me.'
Originally a novel by French author, Honore de Balzac, this modern version boasts an international cast of talent. Bob Hoskins (Cesar Crevel), Hugh Laurie (Baron Hector Hulot), Aden Young (Wenceslas), Kelly Macdonald (Hortense Hulot), and Geraldine Chaplin (Adeline Hulot) all twist and turn in time to Bette's song of vengeance. Set in Paris, during the pre-revolutionary period of 1846, screenwriters Seifert and Tarr turn Balzac's morality tale into a microcosm of the class resentments barely simmering just beneath the pearls and petticoats of Bette's shadow world. Yet she's nothing if not flexible, as she revises her best-laid plans in the face of cross and double-cross by family and high society associates alike.
Bette: "I'll see them – all of them – in the dust! We're both daughters of the soil, and blood of the voge, and do you trust me, as a sister?"
Jenny: "Yes "
Bette: "And will you help me, as you would a sister?"
Jenny: "Yes "
Bette: "Then you will be the ax and I'll be the hand that wields it."
Surrounded by people with their own notions of power, Bette plays nonstop Powernoply until she wins all, while the French Revolution rages. She's able to play upon the passions of her tormentors and deftly manages to wreck her subtle brand of ruthless revenge upon one and all, causing adultery, a duel, physical illness, embezzlement, financial ruin, imprisonment in the Bastille, and a crime of passion - all of which sees her contentedly sewing in the grand house, dressed in her own silken finery, cooing to a child who's the product of this genteel carnage.
- OutsideHollywoodLand
- Sep 27, 2011
- Permalink
Well I tried to like it, but it just didn't work for me. To me the most memorable part of the movie is one of the songs Elizabeth Shoe sang. The rest I am likely to forget fairly soon. Not a complete waste of time, but not very good either. I gave it 5/10.
Sometimes bleak, sometimes funny, Cousin Bette is one of those movies that isn't for everyone. Set in mid 19th century France, the film focuses mainly on Bette Fisher,a manipulating spinster who doesn't seem to care much about anyone, except for herself. I was impressed by the fine performances by the actors, especially Jessica Lange's as the lead character and Hugh Laurie as Baron Hulot.
First, I want to thank the two reviewers who read Honoré de Balzac's "Cousin Bette," and commented on this film at length as of the time of my writing here. It was long ago that I read anything of Balzac, and that was in school. I understand that this film is a considerable deviation from the novel, and that the theme is altered as well. So, my comments here will be about this movie and story as they are. I won't compare it to the novel or any other productions based on it. But, as its own story, this film, "Cousin Bette" might very well be compared to other stories of literature and film.
About half way through watching the movie, Bette (played by Jessica Lange) reminded me of another character from literature – Svengali. He was in George du Maurier's 1896 novel, "Trilby," that was also set in mid-19th century Paris. Svengali hypnotized the talented Trilby to make her a famous singer. He dominated and controlled her every move. In this film, Cousin Bette doesn't hypnotize but she cleverly manipulates and controls people under the guise of friendship, family and helping them. It isn't just one person, but all of the main characters eventually. And, it isn't to have any of them achieve anything. Rather, she uses them as pawns to help destroy someone else – most of them, unwittingly.
From that standpoint, Jessica Lange's performance is very good. She plays a female Svengali who is even more dastardly than the original character because she brings the death and ruin of more than one person. This Bette could write the book on revenge, conniving, lying, stealing, lusting, manipulating, concealing, deceiving and hating. How anyone can see this film as comedy is beyond me. It is drama and tragedy. It's a tragedy not only for all those whom Bette brought down – but not because she brought them down. They fell because of their own foibles, deceit, wasteful lifestyles, self-indulgence and meaningless lives and living. That, I think, was the real point of Balzac's novel and others like it. But, it also was a tragedy because Bette lost her own soul in the process.
No, I didn't find any glee or chuckles in a "black" comedy here. This film clearly was tragedy, no matter how the movie marketers labeled it. I suppose all the roles played were good for what the film became. But, I don't get enjoyment out of watching such sinister stories or features of such characters. One can get an idea that the movie will be stuck in the muck of hatred, revenge and destruction and never rise above it or attain any kind of redemption. About mid-point in the film, Bette says, "Oh, my dear. The devil has a sister." She was right. And her name is Bette.
I would be interested in seeing the 1971 BBC mini-series, if it becomes available on DVD at a reasonable price.
About half way through watching the movie, Bette (played by Jessica Lange) reminded me of another character from literature – Svengali. He was in George du Maurier's 1896 novel, "Trilby," that was also set in mid-19th century Paris. Svengali hypnotized the talented Trilby to make her a famous singer. He dominated and controlled her every move. In this film, Cousin Bette doesn't hypnotize but she cleverly manipulates and controls people under the guise of friendship, family and helping them. It isn't just one person, but all of the main characters eventually. And, it isn't to have any of them achieve anything. Rather, she uses them as pawns to help destroy someone else – most of them, unwittingly.
From that standpoint, Jessica Lange's performance is very good. She plays a female Svengali who is even more dastardly than the original character because she brings the death and ruin of more than one person. This Bette could write the book on revenge, conniving, lying, stealing, lusting, manipulating, concealing, deceiving and hating. How anyone can see this film as comedy is beyond me. It is drama and tragedy. It's a tragedy not only for all those whom Bette brought down – but not because she brought them down. They fell because of their own foibles, deceit, wasteful lifestyles, self-indulgence and meaningless lives and living. That, I think, was the real point of Balzac's novel and others like it. But, it also was a tragedy because Bette lost her own soul in the process.
No, I didn't find any glee or chuckles in a "black" comedy here. This film clearly was tragedy, no matter how the movie marketers labeled it. I suppose all the roles played were good for what the film became. But, I don't get enjoyment out of watching such sinister stories or features of such characters. One can get an idea that the movie will be stuck in the muck of hatred, revenge and destruction and never rise above it or attain any kind of redemption. About mid-point in the film, Bette says, "Oh, my dear. The devil has a sister." She was right. And her name is Bette.
I would be interested in seeing the 1971 BBC mini-series, if it becomes available on DVD at a reasonable price.
This movie is fun in that it has Jessica Lange (undoubtedly one of the best actresses ever to live)playing a spinstress whose life is fairly empty until she rescues a poor ugly man who is a bit younger than she. In her world, people turn on her without a second thought...it's quite the morality tale...she merely leads them by their own will to their doom. Sweetly.
- Bulimia Nervosa
- May 23, 2001
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