The Blue Room

This is really quite a simple story. Man has affair with other man's wife. Has wife and family but re-unites with woman he met before his marriage. They have a series of trysts. She has a husband who has a serious medical condition and one day he dies. Unfortunately, the woman is a pharmacist and it appears that they have done a "Postman Always Rings Twice" murder. The whole thing focuses on a bewildered man who realizes that his actions have a consequence. He's not even sure what has happened as he sits in a courtroom. Sometimes justice is less about criminal justice and more about moral justice. A slow moving psychological drama based on a George Simenon novel.

Mathieu Amalric isn't one to shy away from a risky project—has anybody seen the film where he plays a shrink and Benicio Del Toro's a Blackfoot WWII vet with PTSD? Here he and his real-life partner, Stéphanie Cléau, co-star in a stripped-down 75' adaptation of a Simenon story of erotic obsession and justice gone awry. The fine performances and the film's time-shuffling structure help maintain a high level of suspense at least past the halfway mark, though it seems to me that Amalric and Cléau, who also wrote the script, might have thrown a little too much of Simenon's backstory out with the bathwater.

The plodding inquiry that begins even before we know a crime has been committed certainly explains Julien's (MA's character's) air of glum fatalism through the second half of the film, but the script's intense focus on the two lovers doesn't prepare us for the final courtroom scene, in which a character we've barely seen before steps into the spotlight. (I'm planning to watch again to test the hypothesis, suggested by some online reviewers, that the crime the protags are charged with was committed by someone else…)

The courtroom scene has a nightmarish quality, like one of Hitchcock's "wrong man" films; the trial itself seems like an open-mic session where gossipy townsfolk step up to air their gripes about the defendants—one witness dismisses Julien's stylish modernist house as a "crappy little shack." There's certainly a disconnect between Simenon's view of blind, blundering justice and our own no doubt idealized police procedurals and courtroom dramas; I agree with other reviewers that Julien would have excellent grounds for appeal on the basis of blatant judicial bias and ineffective counsel.

not an ordinary adaptation. the spirit of many contemporary French films. Mathieu Amalric using same tools to build his character. a Simenon in different manner. a cold film about relationship and decisions, about guilty and events who has a strange touching manner to surprise the viewer not for evolution of events but for the attitudes of characters. a film of silence and guilty out of facts. because it preserves the Greek mark of destiny, the poetry of things, the emotions as a kind of fog. nothing clear, each detail as part of a sort of ambiguity and slow rhythm of events. a film with a specific target who could seems be boring for many. but useful with few drops of patience. and with a crumb of interest for Simenon universe.

This is a story from which one can see how desperately poor French justice system is. Their policemen are notori ous, but potential for injustice is even worse. In a small French village provincial town, a couple unsuccessfully tries to hide their affair. A family man is caught into adultery in a leg-web by cold and predatory female lover who had a crush on him since high school, but because of the rigid class system he never approached her. She contorts a way to get him between her spread legs (expl icitly shown several times), and replace her unloved but well off dying husband. She is married into pharmacy, and when a husband dies it is unclear if foul play is at play. But her mother in law has no doubts and decides to avenge her offspring by poisoning his son wife lover's family via convenient fact that they get plum jam from her. Weather the depiction of the obnoxiously unjust and plain stup id court and investigation system of France is realistic (and yes, it is that horrible, if not even more so, especially if you are a minority, and police is even worse), this is a stylistic attempt to say something about passion and such things. But toxic femininity - French way, wins the day, and a confused male victim, who is not manly enough to counter the horrible forces of female venom in all its editions, gets destroyed. His leggy lover, guilty or not (point a bit moot) fares better, as in her feminine mind she won them a life together as lifetime jailbirds if not lovebirds. Horrible - if only for a system, that convicts based on close to zero evidence, maximum prejudice and Gallic investigative incompetence, is an insult to intelligence - but in France, incompetence and arrogance go hand in hand together with a solid web of sensationalistic tabloid press and trial by ordeal level of judicial primi tivism. In addition, French provincialism has not changed much from the time of "The Raven", brilliant portrayal of true French mentality that remains unchanged at least from their glorious Vichy days circa 1943.

about desire. about the role of the other. about flesh and love and hidden by yourself sins, about the search of yourself and about the fall of a night.about justice. a film who mix, in wise manner, the seduction with fascination. a work of beauty and dark secrets and images of victims and fragile intentions. it could be the film of Mathieu Amalric. like many of his films because he has the science and the gift to propose the right solution for the tone of story. because it is a film of details, about a not special event, in which the states of characters remains the only significant thing. so, a film who must see. for the acting first. then, for atmosphere.