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    3. Le beau Serge (1958) [The Criterion Collection #580]

    Le beau Serge (1958) [The Criterion Collection #580]

    Posted By: Someonelse
    Date: 17 Oct 2011 11:04:00
    Le beau Serge (1958) [The Criterion Collection #580]

    Le beau Serge (1958) [The Criterion Collection #580]
    A Film by Claude Chabrol
    DVD9 (VIDEO_TS) | NTSC 4:3 (720x480) | 01:39:21 | 7,84 Gb
    Audio: French AC3 1.0 @ 384 Kbps + English Commentary track | Subs: English
    Genre: Drama | 2 wins | France

    Of the hallowed group of Cahiers du cinéma critics turned filmmakers who transformed French film history, Claude Chabrol was the first to direct his own feature. His absorbing landmark debut, Le beau Serge, follows a successful yet sickly young man (Jean‑Claude Brialy) who returns home to the small village where he grew up. There, he finds himself at odds with his former close friend (Gérard Blain)—now unhappily married and a wretched alcoholic—and the provincial life he represents. The remarkable and stark Le beau Serge heralded the arrival of a cinematic titan who would go on to craft provocative, entertaining films for five more decades.

    IMDB
    Criterion

    François Truffaut called Claude Chabrol's astonishingly confident and accomplished debut, 1958's Le Beau Serge, "a turning point in French cinema," and Criterion's new Blu-ray release of this masterful film lets us see better than ever exactly what he meant. Along with his fellow critics-turned-filmmakers from the legendary French film magazine Cahiers du Cinéma–Godard, Truffaut, Rohmer, Rivette (who makes a droll cameo appearance here, alongside Chabrol himself)–Chabrol came to filmmaking through an obsessive love for the medium, stoked by a voracious, nonstop cinémathèque-filmgoing diet, and it shows: Le Beau Serge was the first feature to emerge from the Cahiers contingent, and it is propelled from start to finish by Chabrol's palpable sense of defiance against stuffy cinematic convention and his ecstatic eagerness to try out and explore for himself those miraculous creative tools, the movie camera and the editing table.

    Le beau Serge (1958) [The Criterion Collection #580]

    Le Beau Serge's story is concerned with the effects of the return of a convalescing young man, François (Jean-Claude Brialy, A Woman Is a Woman) to his provincial French hometown for some rest and continuing recovery from a close call with tuberculosis. The town is mostly welcoming toward its ambitious prodigal son back from the big city, but there is a disturbing hot/cold, love/hate tension between François and the "handsome Serge" of the title (Gérard Blain (Charlotte et son Jules), sexily intense like some French Monty Clift or Marlon Brando), the best friend François left behind when he went away. "Left behind" as in abandoned: When the very good, very conscientious François sees that Serge has become a poor wreck of an alcoholic with no prospects in life, tortured by the deformity and death of his first child and despairingly fearful that his wife, Yvonne's (Michèle Méritz, Class Tous Risques), current pregnancy will come to the same end, François is overcome with a guilt that is only exacerbated by Yvonne's resentment of him for his close bond with Serge and his having escaped the bleak trap of their village.

    Le beau Serge (1958) [The Criterion Collection #580]

    François begins to try, through subtle persuasion, then teasing, and then scolding, to save Serge from himself, but Serge's self-destructiveness is only a symptom of small-town hopelessness. Another is the exploitative, quasi-incestuous relationship between Marie (Bernadette Lafont)–onetime extramarital lover of Serge and François's current fling–and the old man M. Glomaud (Edmond Beauchamp), like Serge an incurable drunk, who has raised Marie but who is likely not her biological father. François's struggle to help people who don't want to be helped and who resent his efforts (even the jaded town priest tells him to leave, since in his experience this particular flock is past improving) escalates to a literally life-or-death pitch as Serge slips further and further away from François and Yvonne as the dreaded childbirth impends.

    Le beau Serge (1958) [The Criterion Collection #580]

    All this sordidness is played out naturalistically, nonjudgmentally; Chabrol's trademark calm, sardonic, not entirely hopeless or humorless nihilism is already present in his nonchalant presentation of what seems atrocious to François and completely natural to the poor souls, who, unlike him, have not been fortunate enough to escape their circumstances. Aiding both the film's laconic, clear-eyed approach to the troubled townspeople's lives and François's building sense of urgency is Chabrol's amazing, assured visual suppleness–the framing, blocking, mise-en-scène, and camera movement in every scene is so fluid, and coordinated with such a relaxed perfection, it's almost impossible to believe that this is the work of a first-time filmmaker–along with the brilliant lighting camerawork in the film's authentic, natural-lit locations by the great New Wave cinematographer Henri Decae (The Lovers, Le Cercle rouge).

    Le beau Serge (1958) [The Criterion Collection #580]

    To call Le Beau Serge a promising debut by a talented filmmaker would be to make a laughable understatement; this film is so fully realized, engaging, and free of missteps or first-timer's insecurity/clumsiness, one would not have been misguided to take it as a sure sign of a major director with a long run of great things ahead of him. Chabrol, who died last year after releasing his 60th film, rarely failed to live up to the high standard he set from the beginning with this impressively mature, controlled, and ambitious first foray into a medium that was, in retrospect, just waiting for the reinvigoration Chabrol and his ilk would bring to it.

    Le beau Serge (1958) [The Criterion Collection #580]

    A shot heard 'round the world–if only indirectly, as the bona fide first New Wave feature overshadowed by its immediate successors (The 400 Blows and Breathless)–Le Beau Serge is an unexpected stylistic marvel that also gives a bemused nod to the deeply embedded Catholicism of French culture (a cranky doctor comments on its do-gooding main character's "Christ complex") and anticipates, with its tale of an actually good, kind young man's introduction to the degradation that people who have no way out duly accept as their lot, director Claude Chabrol's career-long preoccupation with the frightening predictability–the real, not-very-pretty, hardly well-adjusted "normal"–of human nature. Like the glorious string of cinema-intoxicated New Wave debuts by Truffaut, Godard, Rivette, Rohmer, etc., etc., that would shortly follow it, there is a vigor at work here, an infatuation with the medium that electrically conducts the filmmaker's intoxication with the moving image on to us as we experience his work. Put on Le Beau Serge (there will never be a better, more meticulously restored edition than this one) and you can revisit once again that moment when the floodgates opened and cinematic innovation, energy, and skill flowed forth freely and abundantly. Highly Recommended.
    DVDtalk
    Le beau Serge (1958) [The Criterion Collection #580]

    Special Features:
    - New digital restoration
    - New audio commentary featuring Guy Austin, author of Claude Chabrol
    - Claude Chabrol: Mon premier film, a documentary by Francis Girod on the making of Le beau Serge, featuring interviews with Chabrol and actor Jean-Claude Brialy
    - Segment from a 1969 episode of the French television series L’invité du dimanche in which Chabrol revisits Sardent, the town he grew up in and Le beau Serge’s location
    - Theatrical trailer
    - New and improved English subtitle translation

    Le beau Serge (1958) [The Criterion Collection #580]


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