The Widow Couderc

At the time ,French cinema was updating the rural thriller ,a genre which had begun in the late thirties/forties with such works as "Goupi Mains Rouges" "l'Assassinat du Père Noël" or "la Ferme aux Loups".The early seventies began with Granier-Deferre's "La Horse " (Gabin) and continued with another Granier-Deferre (this one) as well as with "L'Affaire Dominici" (Gabin) and "Les GRanges Brulées" (Signoret and Delon teaming up again).

These movies from the seventies were more realistic ,more "precise in their depictions of rural life than those released earlier."La Veuve Couderc",like one of his precedent movies ("Le Chat" also feat Signoret) was first a novel by Georges Simenon.In France ,people were amazed to see Delon playing opposite Signoret ,but most of the actresses Delon played with in the seventies ,with the exception of Romy Schneider or Jeanne Moreau,were starlets.There was really a special chemistry between them which was not as effective in their later effort "les Granges Brûlées" .Both are well cast,Signoret as a strong middle -age peasant woman and Delon as the fugitive .

Granier-Deferre helped pave a way to a new "Cinema de Qualité" which made us forget the pretensions of the new wavelet.

This is my favourite from Pierre Granier Deferre, besides LA HORSE, LE TRAIN and LE CHAT. The story itself, the topic is not so unusual, only the character study and relationship is riveting. Watch out for the lines between Simone Signoret and Alain Delon, before the other film they make together two years later: LES GRANGES BRULEES. This movie is adapted from a George Simenon's book, which I have never read, but this film is poignant, sad, downbeat, in the seventies fashion. Simone Signoret is here at her peak, as powerful as she was in LE CHAT, the very same year, this mature lady, so rough from the outside, who refuses to admit her love for Delon. Two so different people, the escaped convict and the widow, surrounded by nasty folks who don't understand them and wish them the worst. Two aginst the whole world. So subtle, everything unsaid is more convincing than any words or even acts. A strong story telling.

The person who wrote that she (?) thought that, perhaps, no one in America had seen this film is wrong! I saw it in Los Angeles when it first came out, in the early '70s. Granted, it did not leave a great impression upon me. What left a great impression upon me was, bien sur, the wonderful Alain Delon. Sigh. Sorry! Can't help it! I will remember everything he was in until the day I die! After seeing this film, I remember afterwards, recollecting the scenes with him and the younger gal with whom he was dallying, and thinking, "That actress should PAY to play that role!" Again, sorry! Of course, Signoret was fantastic, as she always was.

Simenon adaptation, it is remarkable for the lead actors performance. for the images from a France who seems be lost today. for the force of message. and, sure, for the silence slices. a beautiful film, splendid artistic duel between Simone Signoret and Alain Delon, bitter, cold, fragile, delicate, demonstration of high talent and wise discover of story nuances. a young man, a middle age widow and few days. a love story in different form , not just as forbidden one but as image of a fundamental change. one of films who can seduce the viewer not for story or for acting but for something who defines the frame of details. a reflection support. and one of really good acting demonstrations.

If you enjoy French movies ie moody, atmospheric and slow burn then you should enjoy this. Solid performances by everyone.