Murderous Maids

I watched this movie a lot of times and all that can I say this is so powerful and fierce even though it is based on a true story. Sylvie Testud's performance in this movie is absolutely amazing! Even her sex scenes with Julie-Marie Parmentier are all emotional, and I can't see any traces of incestuous sex in it, making it as my most favorite love scene ever! The murder scene, on the other hand, looks like scary to me in a slightly manner. I also salute to the director of this film for having an excellent and amazing film.

I first saw an English version of this film many years ago with Joely Richardson playing Christine and the ever so cute Jodhi May as Léa. It was on by chance that I happened on the French version Les Blessures Assassines in a Blockbuster store. After watching it, I bought a copy. Though I liked the English version, very much, I was completely swept away by the French movie, and Sylvie Testud.

Testud, who plays Christine Papin in the film, has got to be one of the most stunning women in film today. Not only is she beautiful to look at, her acting is stellar. She takes you inside the mind of Christine Papin, whether it really happened that way or not. Also a great performance from Julie-Marie Parmentier who plays her younger sister Léa Papin.

I was simply riveted. I am now a HUGE fan of Sylvie Testud and having seen Le Château on cable, I have ordered La Captive on DVD.

Sorry, but historical accuracy, t & a and good sub-titles aren't enough. As a true-crime fan, I was intregued by this film's attempt to re-construct the lives of these two women as a way of trying to understand their crimes, but the heavy-handedness of the director combined with the sweaty, gross-out sexuality between the two sisters kind of spoiled it for me (There's a sex-scene combining incest, hairy armpits and crepes that I found utterly appalling). The "bad" characters were too overly bad, the "crazy" ones were overly crazy; by presenting this polarized view of life, the director robbed the film of exactly the ambiguity that made these crimes so shocking and difficult to understand. I do, however, give high marks to the scenes of the crimes themselves--which were effectivly shocking--and to the character of the maid's mother who was a multi-dimensional, interesting and surprising character.

This is the story of the Papin sisters - whose tale inspired a play by Jean Genet and several earlier movies. This is probably the most historical of any of the previous attempts at the telling. Christine and Lea are sisters from a working class broken family in France, a family that has always been `in service.' When Christine expresses a desire to go into a convent like her older sister, the mother screams, `You'll slave for others the way I have.' As Christine tries to protect her younger sister from the world, her blank face in the presence of her rich employees does little to hide her growing bitterness and rage. Sylvie Testud as Christine gives one of the best performances to be seen in recent years. This is a drama of individuals, and - a rarity in these times - a clearly political drama about class conflict. See it despite the tabloid title given to its U.S. release.

Let us be very clear from the beginning, the person who came up with Murderous Maids could not have seen or understood the film. The Injured Assassins, or Injured Killers (assassins just sounds better to me) is much more evocative of the feel and content of the story. For this is not the story of a murder, but the story of two sisters who happen into murder.

First, Sylvie Testud is superb, restrained yet full of emotion, humble but full of pride, cold but full of love.

Many people have commented on the class warfare. The Jean Genet play takes that to an extreme. Some have been pulled in by the story of incest and illicit love between sisters. Denis walks deftly across these problems and presents a story that unfolds itself authentically and truly.

The mother in this movie did give me problems, she seems nicer than her effect on the girls, but remember who it is that puts them in the convent, and how she hides the secret of the oldest sister's pain using it only as a weapon to inflict damage upon Christine (Testud).

As the film came to the climax I briefly thought of Chabrol's Le Ceremonie, but that is another story, another film. Though depressing and slow, but not a second too long, this is a seriously important film for those who value the intensity with which cinema can bring the truth to light.