Alias Betty

When he's at his best,that is to say when his movies deal with childhood/parenthood ("la classse de neige) or the difficult passage from adolescence to adult age ("la meilleure façon de marcher" ,his towering achievement,and "l'effrontée"),Claude Miller makes really strong films.

Whereas his adaptation of Patricia Highsmith ("this sweet sickness" aka "dites-lui que je l'aime")was downright disappointing ,his foray into Ruth Rendell is highly successful.First of all,this novel was tailor-made for him:it's a movie about monstrous love,self-love for the grandmother (a never better Nicole Garcia),painful love for the young mother(Kimberlain) ,absence of love for Seigner's character in a story revolving around children.

Rendell's novels are very complex,involving many characters ,who brush against one another more than they meet ;sometimes,it takes a long time before we know the connection between them.But Miller succeeds brilliantly in his adaptation :he devotes each character a "chapter"

(hence the title) "Betty's story" "Joseph's story" etc.In Rendell's work ,like in Highsmith's ,the frontier between the "culprits" and the "innocents" is very vague and we never know which ones will get away.

Minor critic: the actor playing Alex is not very credible because he's not really the looks of a gigolo.

I can now understand why authors feel leery about letting screenwriters adapt a novel. First of all, a full length novel doesn't translate well to the screen. There are too many nuances and too many details, that trying to do them all, will humble the most talented scribe.

Take the case of the novel in which this film is based. The Tree of Hands by the magnificent British master of suspense, Ruth Rendell. The adaptation has nothing to do with the brilliant narrative she gave us with this novel. If anyone wants to see the best adaptation of a Rendell book, I would recommend to see Claude Chabrol's, "La Ceremonie".

Not only was that a superior film, but it reveals the essence of the book with little effort.

The problem with "Alias Betty" is Mr Miller's scenario. He has changed the basic premise of the book into something else. Now, don't get me wrong, it is a better film than some of the mediocrity coming from France lately.

The big problem is with the character of the mother. Nicole Garcia is out of her range here. Not only that, one never understands what's wrong with her, even though she appears to be schizophrenic. She's a loose cannon up to no good. In the novel she's even more so.

Betty is ambiguously played by Sandrine Kiberlain, which in a way, suits the character better. She is the only sane person around, even though she is unable to control the mother.

The minor side plots add to the story, but everything at the end is resolved so easily that one wonders if anything like that is possible in life. The films end in an upbeat note, even though it has nothing to do with the original novel.

I've just seen this film at the Montreal World Film Festival. The plot is very interesting. A deranged mother and her lack of love for her daughter, the daughter and her absolute love for her son, another mother and her distant love for her own son, and a mother's love for an adopted son. Once Betty loses her child, her deranged mother kidnaps a little boy, telling her daughter that she is keeping the boy for friends who are on vacation. We seem to think that we now know the ending. False. The plot thickens and the film ends as it should : nice, smart, a bit violent but also very funny. A very entertaining film. Luck Mervil is new to acting and did a great job.

This quietly compelling entry from French director Claude Miller was strangely marketed to American international cinema enthusiasts as an edge of your seat thriller. Based on the plot synopsis (best-selling novelist loses son to tragic accident, then crazy mother kidnaps "replacement son" for grieving daughter, then kidnapped boy's unpredictable mother and criminal friends seek to get boy back) I thought this was going to be good, and weird. Instead it was great, and weird, but not the kind of weird I was suspecting. Despite plenty of opportunity to do so, Miller never exploits or sensationalizes any of the intertwining tales of Parisian misfits begotten to misfortune both accidental and of their own making. He takes a meditative, and at times cold, though ultimately intimate look at human relations and diverging theories on what it means to be a mother. The "thrills" emerge from the fact that you never know what these interesting characters are going to do next. Miller pulls no punches. There's no pounding music score, fancy camera tricks, or melodramatic theatrics. The performances are as nuanced and natural as the direction. This is a perfect remedy for those seeking respite from Hollywood thrillers.

Set in France, and Paris, but not the usual one. Instead, we see the suburbia, and the projects. A rich woman, famous by a best-seller novel talking about her experience on NY, gets her strange mother at the airport, with her 4-year old son. Strange? A lot! Not crazy, but almost... The boy dies, and strange as she is she tries to mend her daughter's loss with a substitute: she kidnaps a boy of the same age and fit from a woman living on a project, almost a whore. One other story! More will follow, all nicely intertwined. Nice characters, the mothers, all of them, the lovers, all of them...