I wasn't particularly impressed with Philippe Garrel's previous film, 'La jalousie'; there was nothing specifically bad about it, but it wasn't special at all, and it was so flat in its drama that it had no vitality. It's safe to say that I approached this with only middling expectations, not least as the premise is broadly unremarkable and conventional, but one can always hope. As 'L'ombre des femmes' begins it certainly seems to march in step with its predecessor, as we're introduced to a husband who doesn't entirely appreciate his wife, a wife who lives in her husband's shadow to her mother's chagrin, and the young paramour who introduces a fresh spark of new love into the husband's life. All this is fine, but again, one can hope for more to come - and gladly, it does. As it turns out, I'm very happy to say that this 2015 picture really is a notable improvement on its forebear, and distinctly deserving on its own merits. It still may not altogether be a lightning bolt of brilliance, but this is a fantastic, rich romantic drama that strikes just the right chords to be meaningful and impactful, and actively engaging, in a way that not all others (including Garrel's previous effort) can. Moreover, it only gets better as it goes along, all the way through to the end. I think this is great!
I appreciate Renato Berta's cinematography, at once soft and crisp in its black and white presentation and lending a sense of intimacy. I like the cast, especially Lena Paugam as lovesick mistress Elisabeth and Clotilde Courau as devoted but put-upon Manon; it's more difficult to admire Stanislas Merhar as distant and underhandedly cruel Pierre, but he unquestionably sells the part very well. More so than I think was true than in 'La jalousie' I'm inclined to think Garrel illustrates strong direction, showing a keen eye in orchestrating shots and scenes and making them both artful and important. More than that, between Garrel's direction and Francois Gédigier's shrewd sequencing, there's definite air of increasing tension as the story unfolds. Of course this stems as well from a capable screenplay; interestingly, the only difference in the writing team is the substitution of Marc Cholodenko with prolific screenwriter Jean-Claude Carrière, but whether it's Carrière's involvement and/or a more robust concept we have to thank, I quite believe 'L'ombre des femmes' is just swell. Tension between husband and wife, imperfect relations between husband and mistress, secrets kept, a new secret discovered, secrets revealed - there's a more discrete narrative here, and it's a hardy, compelling one. The dialogue, scene writing, and characters are all more complicated, more fleshed out, and more believable. Even Louis Garrel's narration is used in a way that's more profitable than has been true in other films; true, it may sit at a divide of being insightful and plainly imparting what other features would leave for the viewer to discern, yet as a matter of being a creative choice here, overall I think it was a good one. The end result of all this is a movie that's unexpectedly absorbing, and which demonstrates unmistakable intelligence and finesse in its craftsmanship.
Jean-Louis Aubert's score is employed relatively sparingly, yet where it does crop up it's flavorful as it catches our ears, and lends to the somber tone and the underlying tension. There's a measure of electricity bristling about the proceedings as themes swirl of love, jealousy, domestic troubles, hypocrisy, trust and the corrosion thereof, emotional availability, and more. And it should be said, too, that all those contributions from behind the scenes are terrific, of course including costume design, hair, and makeup. Incidentally, I think it's the production design and art direction that are most commendable here, not because the sets (adjoining excellent filming locations) are outwardly stunning but because of their shrewd subtlety. This goes for Pierre and Manon's flat above all, for what we see and hear of it reflects an indifference, carelessness, and possible transience that echoes the developing plot. With that said, it strikes me that 'L'ombre des femmes' comes across in no small part as a movie that could surely be adapted into a stage play, or that could have been adapted from one. The limited number of characters, with terse interactions, in a scant few major settings, and not least the very personal nature of the tale all recall drama that could just as readily play out live in a theater. And in my mind, this only confirms the strength that Garrel's picture has to offer.
I wouldn't go so far as to say it utterly demands viewership, yet the progression of the narrative, the character arcs, the bigger ideas on hand, and the overarching skill and quality seen herein together forge a work of cinema that's genuinely much more earnest, substantive, and worthwhile than I thought it would be. It doesn't sound like much from the outside looking in, 'La jalousie' sets lukewarm anticipation, and the first scenes to greet us are not immediately encouraging. I'm as surprised as anyone, however, that as the runtime advances Garrel, Carrière, Caroline Deruas-Garrel, and Arlette Langmann give us storytelling that in my opinion proves to be rather inspired, and this is borne out by the cast and crew. I'm downright pleased at just how good 'L'ombre des femmes' is, and to be honest I rather think it earns a blanket recommendation. As a matter of personal preference it won't appeal to everyone, but as far as I'm concerned these are seventy-five minutes very well spent, and a fantastic credit to everyone who had a hand in its creation. Kudos!
