Merci Pour le Chocolat

Rating:
Summary: Wonderful, brilliant Huppert
Review: I first encountered Isabelle Huppert in LE PIANISTE, and was excitedly anticipating this film. Her ability to communicate repressed rage and a rigid adherence to social convention is awe-inspiring. She never turns the facade into a cliche, even in this unsympathetic role. She is just as wonderful in this film as in THE PIANO TEACHER, although her characters are quite different.

This one, Mika, is not as fully developed and explored. Director Charbol merely gives you a taste of the morbid, paranoid, obsessive and ultimately violent character. Huppert delicately conceals the true Mika behind the practiced visage of the wealthy and socially-connected corporate executive. No overt smugness or irony reveals to you the true depth of her anti-social sentiment, self-loathing, and hatred.

The film notes only glibly discusses the character (as aflicted by "perversion"), and I think the film itself only approaches her, never exploring or embracing her. There is something more complex at work than the corruption or debasement perversion implies. The full-blown personality disorder on display gives us a glimpse of the "non-persons" lacking the ego, or sense of personhood, that makes their 'normal' (often perfectionist) behavior calculated mimicry. We catch only a glimpse of that her, I believe.

Although I'm only giving it three stars, I still think this is a fascinating movie well worth seeing (I won't belabor the "Hitchcockian Tradition" rhetoric). Isabelle Huppert is brilliant, and this performance should be savored. However, its pretentiously abrupt ending, as well as its inability to successfully incorporate the piano element (the portentous use of Liszt's "Funérailles" seemed ineffective to me) detracted from the overall impact.

Rating:
Summary: Both the "Chocolat" and the movie are good
Review: I have found lately I have been interested in the films of Claude Chabrol. I guess one could call him the French version of Hitchcock. I admit he seems to be a better follow-up to Hitchcock's work then say another great French filmmkaer Francois Truffaut.

Many people have been rather harsh on this film, but, I found that I enjoyed it, and perhaps not for the same reasons other have. It's with this film the viewer is not only able to see how talented Chabrol is, but, also, we are able to see the way a movie should be constructed. The story-line may be difficult for some to follow but watch the execution in the delivery of suspense. The set-up is wonderful. The way Chabrol is creating more and more tension with each scene as it builds up for the climax is something all young filmmakers should see. And the choice of music play a major role as well.

I wanted to see this film when first released, but, never got around to it. One day I happened to stumble upon it on tv. It was the showtime woman's channel. I missed the very beginning of the movie but, as I say what caught my eye was the way Chabrol told the story, not necessarily what the story was about but the way things unfolded. I then was lucky enough to catch the film again, and this time watch it from the beginning.

Now, in it's opening moments I think many will get confused. The story is far fetched and that might turn off some viewers. I personally didn't like the way the situation was handled. Others may see it differently. But, once the story settles and we watch more and more of the film and sort of get a "hold" of what's going on I think many will enjoy the film greatly.

There are a few things going on in this movie so it's hard to explain the movie without spoiling it for everyone. I will try though. Isabelle Huppert plays Marie-Claire aka "Mika" Muller who has just married Andre Polonski (Jacques Dutronc). Polonski was married before and lost his wife in a suspicious car accident. His former wife also happened to be the best friend of his new wife. Now, in the first marriage Polonski had a child, Guillaume (Rodolphe Pauly). Many years later it is brought to our attention that perhaps there was a switch at the hospital. And Guillaume is not really his son but, he had a daughter, Jeanne Pollet (Anna Mouglalis)! Due to a switch at the hospital. And when Jeanne hears about this naturally she wants to meet Andre and find out what he thinks. Of course many of you are saying this all sounds too werid. But, give the film a chance to tell it's story.

"Merci pour le chocolat" is based on the novel "The Chocolate Cobweb" by Charlotte Armstrong, and was written by Caroline Eliacheff and Chabrol himself. For those who aren't familiar with Chabrol's films, fans feel his went into a slump in the late 70's and through the 80's. It wasn't until the 90's that Chabrol seemed to come back on track with films like "La Ceremonie", "The Swindle", and "L'Enfer". For those that are familiar with Chabrol's films I think that this is one of his best films. I feel no one will say this is better than "Le Boucher" or "Les Biches" but, if you enjoyed the suspense those films created than "Merci pour le Chocolat" is for you.

Bottom-line: One of Chabrol's best of recent years. A throwback to his earlier films. A wonderful example of how to build up suspense and capture an audience's interest. Young filmmakers need to watch this movie.

Rating:
Summary: Suspense tale--a bit disappointing.
Review: In "Merci Pour Le Chocolat," Mika Muller (Isabelle Huppert), the owner of a chocolate factory remarries Andre Polonski (Jacques Dutronc), a famous pianist. Their youthful first marriage ended in divorce, and Andre subsequently married Lisbeth. Three years after Lisbeth's sudden accidental death, Mika and Andre remarry, and they live in Mika's splendid house along with Guillaume, Andre and Lisbeth's troubled teenaged son.

Jeanne Pollet (Anna Mouglalis), the daughter of a local foresic expert accidentally discovers that she was born in the same hospital as Guillaume, and that there was some sort of question of a mix up of the Pollet and the Polonski babies. Jeanne is also a brilliant pianist, and she is intrigued with the possibility of the mixed-up baby theory. She approaches the Polonski household and soon Andre takes her under his wing.

The first 3/4s of "Merci Pour Le Chocolat" was a very strong film. The stage was set for some nefarious deeds to take place, and the build-up of tension and suspense in the film was incredible. Claude Chabrol is one of my favourite directors, and so I really looked forward to the DVD release of this film. Isabelle Huppert is one of my absolute favourite actresses, and I try to get my hands on all of her films. She is really so wonderful with these sort of roles--perfect on the outside, but it's the inner mind that proves most interesting and twisted. Mika Muller is just a little too nice to everyone. Why is Guillaume so estranged from his father? Why does Mika insist that everyone taste her own special formula of hot chocolate? Why is Mika so curious about Jeanne's parentage? I was intrigued by this film, but then suddenly it was over. The denouement was not so much shocking as far too abrupt, and the reactions of the main characters to the events were just too wooden and unbelievable. This film could have been so much better, and that's the really annoying thing. The acting was stellar (apart from the final scenes), and all the characters were interesting, but so many facets of the story led nowhere. I was left with the sensation of missing one of the main courses to a meal. Unsatisfying and disappointing--displacedhuman.

Rating:
Summary: Movie: Very Good. Huppert: Great.
Review: Mika Muller, wealthy owner of a Swiss chocolate company (and played by Isabelle Huppert) has just married Andre Polonski (Jacques Dutronc). They were married briefly years before, but divorced and Polonsky married a woman he deeply loved and by whom he has a teen-age son. His second wife died in a car crash after enjoying a cup of hot chocolate with her husband and son at Mika's house. The movie proceeds with tensions, family complications and death -- with Mika calmly continuing the tradition each evening of making and serving her delicious cups of chocolate.

There's little mystery about what's going on, but the story drives with the question, "Why?" Why does Mika do what she does...and just what are all the things she's done? There's tension as it becomes clearer who should really be cautious about accepting Mika's hospitality. The pay-off is low key and, for me, just a little unsatisfying. It's still a movie I enjoy a lot.

The movie works because of Huppert's ability to seem imperturbable while you know deep and probably unpleasant things are bubbling away below the surface. Let me tell you...for those fans of Lindsay and Brittany and Angelina, Isabelle Huppert now 51 could chew you up and spit you out before you knew what was happpening. She's a first-rate actress and a great screen presence.

Rating:
Summary: 3 1/2 Stars: Switched at Birth
Review: Mysteries/Thrillers/Who done-its are by their very nature complex things and it takes a master technician to pull one off successfully. Hitchcock had it,Christopher Nolan ("Momento") has it as does Claude Chabrol, the director of "Merci Pour Le Chocolat."
The characters in "MPLC" are complicated., ambivalent and enigmatic which gives the film it's tone of deep foreboding and a lingering sense that things are not what they seem and that the characters are not what they seem to be.
The premise is pretty simple: a young woman, Jeanne (Anna Mouglalis) accidentally discovers that she may or may not be the child of the person she has known as her father. It seems that she may or may not have been mistakenly switched at birth and her father may be the famous pianist Andre Polonski (Jacques Dutronc).
Her mother (Brigitte Catillon) attempts to explain it away but Jeanne isn't buying it and sets off to find Polonski; thus setting the plot of the film in motion. We are then introduced to Polonski and his wife, Mika (Isabelle Huppert) and his maybe yes/maybe no son Guillaume.
There is no doubt that at this point in the film we are definitely intrigued: the performances are first rate (especially Isabelle Huppert's twitchy, nervous, up to no good, Mika), the mise en scene is flawless, the script is intelligent. Then...BOOM, the whole thing falls apart in the third act. And in a film of this genre, if you don't have a third act you don't have a film. What happened? Who can say for sure but the denouement is flat, trite and obvious...everything that the beginning and middle of the film is not.
But 2/3 of a great Chabrol film is better than most of the stuff to which we are subjected on the screen these days. So for this we should be happy...but are we really?

Rating:
Summary: Brilliant Huppert does it again
Review: The film isn't meant to be typically suspenseful. Isabelle Huppert plays the wife of a well known pianist whom she's known for years. A young woman from his past comes into his life and he becomes attached to her as a father-like figure. Without giving much away, Huppert gives the performance of a lifetime. Her latest films, including this one, have showed off her unbelievable and unique skill at playing strong yet not-quite-right heroines. In this film, her mastery of subtle perversion has the viewer squirming from something in the character they can't quite pinpoint.

Ever meet someone who appears normal but gives you a very strange vibe? Huppert has figured out how to duplicate that person on screen and you'll finish the movie impressed by her as well as the pure and crisp art direction.

Rating:
Summary: What's sweet now turns so sour...
Review: There was a time when you couldn't swing a wedge of cave-aged gruyere around at the theatre without hitting yet another "Hitchcockian" French thriller (circa "The Bride Wore Black"). Apparently, the Gallic thrall with all things Hitchcock (and Jerry Lewis) continues unabated, as evidenced by "Merci Pour Le Chocolat". Isabelle Huppert, as the central character, deadpans her way through a twisty little family tale that falls somewhere between "Prince & The Pauper" and "Serial Mom". I agree with other reviewers that the abrupt denouement was an unfortunate choice by the director, as it cheapens the intrigue of the setup. What you're left with would have made a perfect 45-minute teleplay, perhaps a segment on the old "Night Gallery" program or "Alfred Hitchcock Presents", but not really feature-length material. Good performances from an earnest cast make this one worth a look on a slow night, but (excuse my French) it ain't no "Family Plot"!

Rating:
Summary: What's sweet now turns so sour...
Review: There was a time when you couldn't swing a wedge of cave-aged gruyere around at the theatre without hitting yet another "Hitchcockian" French thriller (circa "The Bride Wore Black"). Apparently, the Gallic thrall with all things Hitchcock (and Jerry Lewis) continues unabated, as evidenced by "Merci Pour Le Chocolat". Isabelle Huppert, as the central character, deadpans her way through a twisty little family tale that falls somewhere between "Prince & The Pauper" and "Serial Mom". I agree with other reviewers that the abrupt denouement was an unfortunate choice by the director, as it cheapens the intrigue of the setup. What you're left with would have made a perfect 45-minute teleplay, perhaps a segment on the old "Night Gallery" program or "Alfred Hitchcock Presents", but not really feature-length material. Good performances from an earnest cast make this one worth a look on a slow night, but (excuse my French) it ain't no "Family Plot"!

Rating:
Summary: A sleek and entertaining thriller with the great Huppert
Review: This French psychological thriller by former new-wave auteur, Claude Chabrol follows a famous pianist Andre Polonksi, his wife Mika (Isabelle Huppert) a chocolate heiress whose never without a menacing cup of hot chocolate, and a radiant young pianist who believes herself to be Polonski's long lost daughter. Huppert's Mika makes for a fierce portrayal of perverse matriarchy and like her emotionally scarred woman in the Piano Teacher, she is melancholically aware enough of her perversity to jolt the audience with a twinge of sympathy. The movie's biggest asset, however, may be that Chabrol skillfully lets you in on its secret immediately. From the beginning, there is no doubt that Mika poisons people with hot chocolate, and by revealing such, I'm not taking anything away from the enjoyment of the film. Its pleasures arrive via the compelling characters, taut dialogue, beautiful upper-class French locales, and sleekly edited progression of events, giving the movie considerable repeat value. Hence why the final denouement is not (and should not be) as fun as simply watching these characters seek, calculate, and kill.