One Deadly Summer - 1983 film review

Four years ago I extolled Sebastien Japrisot's novel One Deadly Summer on this blog, mentioning the film version, which dates from 1983 and benefits from a script co-written by Japrisot, along with the director Jean Becker. The film was a huge hit in France in its day and I've finally caught up with a sub-titled version.

The film came out a couple of years after Lawrence Kasdan's brilliant updating of the film noir, Body Heat and this movie has been called an example of "pastoral noir". Certainly, the French countryside, lovingly presented, is bathed in sunshine, but after a while the darkness of the story and the central character's motivations begins to dominate.

The book is subtly written and can't have been easy to film, but Japrisot's involvement means that the movie is a good one. It also has one massive plus, the casting of Isabelle Adjani as Eliane, or Elle, the young woman who seduces the amiable but naive fireman Pin-Pon (Alain Souchon). She's as much a femme fatale as the women in Double Indemnity and The Postman Always Rings Twice, but her motivations are subtle and the demons that possess her are, for a long time, difficult to identify.

Adjani captures Elle's beauty and wilfulness, as well as the complexity of her nature. I imagine that the nude scenes in which she appears did no harm to the film's viewing figures and I do wonder if the movie would be shot in quite the same way today. On the whole, though, the sexual content is appropriate to the storyline. It's a long film, and at times I felt it moved too slowly. But the power of the story is such that it's definitely worth waiting for the calamitous events to unfold, leading to a shocking finale. It's a very different film from Body Heat, but quite compelling.

Forgotten Book - Goodbye, Friend

Goodbye, Friend is something of an oddity. It's a short, snappy thriller, and as the author explains at the end, it's not really a novel. Rather, it's a movie script stripped of the directions, so that each of the "chapters" is really just a scene. What makes it interesting is that the author is Sebastien Japrisot. I've discussed his books several times on this blog, and I'm a fan. So when I spotted a cheap second hand paperback edition of this title, despite never having heard of it before, I snapped it up.

The film itself is best known as Farewell, Friend, although an alternate title was Honour Among Thieves. It starred Alain Delon and Charles Bronson, something of an odd pairing, but one that may well have worked on the screen - I've yet to see the film, which was released in 1968, though I'm tempted to seek it out.

Tempted, I have to say, despite the fact that the book version is nothing special. Perhaps this was predictable for a book that's no more than a pretty basic script. The set-up is, however, intriguing. Two men who first encountered each other in the French Foreign Legion meet up again, quite unexpectedly, when both try to rob the same bank. Naturally, things fail to go to plan.

In essence, it's a heist story with a difference, and I can imagine that on the screen it would work well. In book form - hmmmm....It certainly isn't in the same league as Trap for Cinderella or One Deadly Summer, both of which are gripping as well as ingenious, and strongly recommended. But this one is at least mercifully short and, overall, it was worth a quick read. 

Rider on the Rain - 1970 film review

Rider on the Rain is a French crime film which is certainly anything but run of the mill. It was released in 1970 and stars the beautiful Marlene Joubert and also Charles Bronson (in the days before he became famous through the Death Wish franchise). The role of Joubert's mother is played by Jill Ireland, who was Bronson's wife, and far too young for the part.

Now I have to admit that my instinct is to avoid Bronson films, but I was drawn to this one by the fact that it was written by Sebastien Japrisot, one of the finest French crime writers, and the man responsible for books such as Trap for Cinderella and One Deadly Summer. Highly talented, he even wrote the lyric for the film's title song - the music was by Francis Lai, a leading film composer best known for A Man and a Woman and Love Story. Rene Clement directs.

Joubert plays Mel (or "Melancholie"), a young woman who is pushed around by her mother and her husband. One day, a stranger turns up in town. He spots Mel, follows her, and rapes her. She manages to shoot him, and having done so, she throws his body into the sea. Then a mysterious smiling American called Dobbs (Bronson) arrives on the scene, and makes it clear that he knows what she's done.

It isn't clear what Dobbs' game is, and the film sags at this point after a compelling start. I found Dobbs' treatment of Mel troubling, although one or two plot twists put a different complexion on things. This film was a big hit in Europe, though it didn't do well in the UK, and it may be fair to say that time hasn't treated it well. Yet it does have some appealing ingredients, including explicit nods to Alice in Wonderland and Alfred Hitchcock. A curate's egg of a film, really, but the combination of Japrisot and Joubert meant that I felt it was worth watching. 

 

Forgotten Book - One Deadly Summer

I've mentioned before my admiration for Sebastien Japrisot (1931-2003), a renowned film-maker who is one of my favourite European crime writers. He conjures up plots as tricky as those of Arley and Boileau-Narcejac, but the stand-out feature of his work is the hypnotic quality of his writing. These attributes are evident in One Deadly Summer (1977), well translated by Alan Sheridan, which was adapted into a successful film starring Isabelle Adjani, which - as yet - I haven't seen.

This is a story with multiple narrators, and Japrisot uses the device cleverly to reveal layer after layer of his psychological melodrama. We start with "Ping Pong", a naive but rather likeable man who is a mechanic and volunteer fireman with a crush on a beautiful but mysterious nineteen year old girl, Eliane, often known as Elle. When Elle sets out to seduce him, we realise that she has an ulterior motive. But what exactly does she have in mind?

From an early point, it becomes evident that this is a story about revenge for an incident that occurred twenty years earlier, but what exactly happened, and who was involved is not quite so clear. Elle is as charismatic as she is scheming, and as she insinuates her way into Ping Pong's family life, we know that something terrible is destined to happen. Japrisot makes the reader desperate to find out exactly what fate has store for his characters.

You'll have gathered that I really admired this book. Japrisot was hugely successful in France, but has never been as well known in Britain, though I came to his work because it was mentioned by Julian Symons in Bloody Murder, such a great source of information back in the 70s. I am, though, much more of a fan of Japrisot than was Symons. It's a real shame that he didn't write more novels; I haven't read a book of his that I didn't enjoy.

Trap for Cinderella - 2013 film review

Trap for Cinderella, Iain Softley's recent adaptation of a novel written by Sebastien Japrisot sixty years earlier is one of the best psychological thrillers I've seen in years. On release, it met with indifferent reviews (often from film critics who simply don't care for plot twists, it would seem), but if you like classy, convoluted plotting in a movie, and you're willing to suspend disbelief somewhat - a requirement not confined to mysteries, of course - then give this one a go. It's gripping, and very elegantly done.

A fire in a French mansion leaves one young woman dead, and another terribly disfigured. The survivor undergoes extensive reconstructive surgery, but suffers from amnesia. She's told that her name is Mickey, and that she is due shortly to inherit a fortune, on her 21st birthday. Soon she meets an old boyfriend, and discovers a diary written by her dead friend, Do. As she reads the diary, her memory starts to return...

This is a complex story centring upon the intimate friendship between Mickey and Do. They were childhood friends, but a crisis separated them for years. When they meet again, they become very close, but it soon becomes apparent that Do's devotion to Mickey has its unhealthy side. What happened in the past, and can Mickey trust those who claim to have her best interests at heart.

Mickey is played by the brilliant Tuppence Middleton, who is rapidly become one of the actors I most enjoy watching. Do is equally well played by Alexandra Roach, while the cast also includes Aneurin Barnard and Frances De La Tour. There are a couple of plot elements which one can quibble about - concerning Do's psychology, and the content of the crucial will - but overall, the story moves so briskly and so entertainingly that these didn't bother me much. Japrisot is a very entertaining writer, and I think he'd have been well satisfied with this adaptation. (The book was filmed in  France back n the 60s, incidentally, and Jean Anouilh was one of the scriptwriters.)

Forgotten Book - The 10.30 from Marseille

Sebastien Japrisot, an author I've mentioned before on this blog, was one of the major French crime writers of the 60s, and although not very prolific, his books remain very readable indeed. The 10.30 from Marseille, also known as The Sleeping Car Murders, was his debut, but it's an impressively mature and original piece of work, which I really enjoyed reading.

The body of a young woman, Georgette Thomas, is discovered when the eponymous train comes to the end of its journey. An inspector called Grazziano, backed up by a young cop called Gabert, leads the investigation whilst his boss, Commissioner Tarquin, stays out of the firing line. The case rapidly becomes more complex as, one by one, the occupants of the sleeping car in which the woman was found are themselves murdered.

The translation by Francis Price is suitably crisp, and the pace is fast, aided by recurring changes of viewpoint. You can never be quite sure what, exactly, is going on, and the mystification is not irritating (as can sometimes be the case) but enticing. I really wanted to know what the solution was.

Inevitably, it turned out to be something unlikely, but it was also totally unexpected and, I think, cleverly done. Yes, one has to suspend disbelief, but Japrisot's skill is such that I was willing to do so. The fact that it's a relatively short book was also a strength. A puzzle as elaborate and unusual as this should not outstay its welcome. All in all, a remarkable debut, which heralded a career that was genuinely impressive, if not overly productive in terms of the number of novels Japrisot wrote. Those he did publish are definitely worth seeking out.

Incidentally, I'm going to be inflicting a new blog post on you on a daily basis for the next few weeks, all being well. Tomorrow, I'll look at three new books by relatively unfamiliar writers.

Sebastien Japrisot - and Advertising

The Lady in the Car with Glasses and a Gun, by Sebastien Japrisot, and translated by Helen Weaver, has languished in my to-be-read pile for a very long time indeed. I’m not quite sure why this is so, since I enjoyed his far-fetched but gripping thriller Trap for Cinderella some years back. Perhaps the cumbersome title put me off. Now I’ve finally read it, I must say I enjoyed it a good deal, with just a few reservations.

Dany is a blonde, beautiful and myopic woman of 26, who borrows her boss’s Thunderbird car on impulse and sets off for the sea. But a series of mystifying events disrupt her journey – people she meets tell her that she made the same trip the day before, when in fact she was in Paris. She is attacked, and left injured, and then discovers a body in the boot of the car. What on earth is going on?

This vivid premise really is terrific, and reminiscent of the work of Boileau and Narcejac, though Japrisot probably has more pretensions as a “literary” writer. The snag, inevitably, is that the unravelling of the truth is rather cumbersome. Japrisot, like a number of his contempories (Catherine Arley and Herbert Montheilet spring to mind) sometimes struggled for a credible resolution to the dazzling puzzles that he created. All the same, this book didn’t deserve to wait as long as it did to be read.

Dany and her boss work in advertising, and so for a time did Japrisot (his pen-name was an anagram of Jean-Baptiste Rossi, his real name). Advertising and PR has supplied a good many crime writers not only with settings but also with business experience. Dorothy L. Sayers, Julian Symons, David Williams, John Franklin Bardin, Leighton Gage, Elmore Leonard, David Goodis and Alan Furst are examples, and I’m sure there are plenty of others. I’m not sure if anyone has ever written about the connection between working in advertising and crime fiction; perhaps it’s a subject worthy of further exploration.