Deadly Circuit

Behind his front of overflowing bitterness and cynicism, private eye Louis Beauvoir (Serrault), nicknamed L'Oeil, is deeply missing of a child to protect and cheer, while he is tracking down a serial killer, Catherine Leiris (The iris)(Adjani).

The followed young woman will be just half-real, she'll be rather like the private eye dreams her.

Like a picture of innocence in his memory, she should stay untouched and untouchable, so he will involve himself in her flight. Through his eyes and ears, she is a mythomaniac orphan, she has misbehaved, she considers herself as garbage, but she wants fondness, getting a substitutive father's attention by murdering men and women who get too close to her.

The dream can last as long as the soliloquizing self-designated father can stay in tune with his substitute daughter, despite awakening bodies on their road, every bodies that did not have sleepwalker's stare and beat.

We, as viewers, wish the great encounter and the forgiveness. We dream. We are willing to roam.

A long time after we are supposed to be awake and down to earth, we are still humming the main musical theme, or La Paloma, or Schubert's lieder, who all played in the movie.

Mortelle randonnée is an ambiguous and dark fairy tale for adults, sprinkled with bridges and winks. After many viewing, there is still to explore and enjoy in Mortelle randonnée, at least in the version I saw (118 min.).

Mortelle randonnée is only a movie, not somebody. A movie does not think it is good. Only people can think Mortelle randonnée is good, or think it is not. It is a matter of taste. Critics who attribute thoughts or claims to movies, instead of ascribing them to film-makers or critics, should perhaps visit a psychiatrist.

...and still does now that I am 42. Serrault and Adjani (an improbable 'incestuous couple' at a first glance, but actually a dreamy duo which really works) are just great. They both look like zombies: two people who died a long time ago and who consider life as a sort of waiting room. They only want to step back into the black&white school photo, when everything was still OK and life worth living. The story verges on the side of madness from the beginning, with Mrs Schmidt-Boulanger (manager of detective agency - beautiful cameo for Geneviève Page, who was the Madam in Bunuel's 'Belle de Jour'). While she's explaining the case to Beauvoir (the detective), he watches dreamily a homeless smashing a window of Schmidt-Boulanger's car, stealing her fur coat and putting it on, parading around on the parking lot, like a model on the catwalk. And the music! Another improbable couple: Carla Bley and Schubert! And the dialogs! Michel and Jacques Audiard wrote one little gem after another. And the black humor! Just sit back, don't expect any believable plot, and ENJOY this little gem from the 80's!

Mortelle randonée is a brilliant and somewhat noir-ish thriller with a subtle twist of comedy. Isabelle Adjani's beauty has never been more glowing than here as the central femme fatale, and Michel Serrault manages to be both touching and very funny as the lonesome private eye, in search of a long lost daughter. As an added bonus Carla Bley's sexy and jazzy score is simply stunning and makes this overlooked gem a definite must-see. Director Claude Miller has had a long impressive career – he started out working for Truffaut – but only rarely has his work been this relaxed, cool and yet still magnificently melodramatic. The inferior "Eye of the Beholder" (1999) was based on the same novel (and Ewan McGregor was way to young for the part). The Wellspring DVD contains only heavily edited American release and this version simply doesn't work. Wait for someone to release this wonderful film uncut.(actually TF1 already have - with French subtitles only!)

The French love for American crime novels has been written about many times. Jim Thompson's works have been adapted by many of the leading directors. Truffaut's early career was based largely on this genre; he made Shoot the Pianist from David Goodis's novel, and many of Chabrol's films are taken from American pulp. Claude Miller made his second film Dites-lui que je l'aime from Patricia Highsmith's This Sweet Sickness.

In Mortelle Randonnee, Miller is working with Marc Behm's novel The Eye of the Beholder, which I haven't read. I suppose Miller chose to throw out most of the plot elements of Behm's book; that's the usual practice in France. The theme of obsessional love of a man for the girl he believes to be his daughter is triumphantly brought to life by a great cast, aided by Carla Bley's richly melancholic music (post-modern brass band?), Pierre Lhomme's lovely camera-work (those rain-slicked night shots, the sad neon lights on hotel fronts), the expert choice of sets (Helmut Newton would have loved that German health spa where Catherine meets the lesbian Cora).

Finally, the wonderful cast: Michel Serrault so wistful as the private investigator preparing an endless series of cover-ups of Adjani's killings, he's as good here as he was in Garde à vue; Isabelle Adjani living on her jangled nerves as she criss-crosses Europe in search of new prey; Geneviève Page (who I remember from Belle de jour--the brothel keeper) as the crisp director of the detective agency Serrault works for; the startling transformation of the gorgeous Stéphane Audran into a homely housewife--what a makeup job--who is also tracking Adjani. The last act is darker and more anguished than the preceding ones, the viewer will have to resist the urge to ask what happened to the comic bits.

One of the best movies ever. Very dark, very deadpan, perfect acting. Great script, too.

The La Paloma version in the blind man's villa is by Hans Albers.