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Violette (1978)

Violette Nozière (original title)
Not Rated | | Crime, Drama, Thriller | 7 October 1978 (USA)
In an interwar France struggling with profound social and political change, 18-year-old Violette Noziere rebels against the constraints of her claustrophobic, working-class (and possibly incestuous) family, with troubling consequences.

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Writers:

(scenario), (scenario) | 3 more credits »
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2 wins & 5 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Violette Nozière
...
Germaine Nozière
...
Baptiste Nozière
Jean-François Garreaud ...
Jean Dabin
Guy Hoffmann ...
Le juge / Judge
Jean Dalmain ...
Émile
...
Maddy
François Maistre ...
Monsieur Mayeul
Philippe Procot ...
Me Vésine-Larue
...
Le fils Pinguet
...
Le directeur de la prison / Prison director
Henri-Jacques Huet ...
Le commissaire Guillaume / Commissioner Guilleaume
...
Camus, l'étudiant
Greg Germain ...
Le musicien noir (as Grégory Germain)
Zoé Chauveau ...
Zoé
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Storyline

In an interwar France struggling with profound social and political change, 18-year-old Violette Noziere rebels against the constraints of her claustrophobic, working-class (and possibly incestuous) family, with troubling consequences.

Plot Summary | Add Synopsis

Taglines:

The Story of an Extraordinary Crime

Genres:

Crime | Drama | Thriller

Certificate:

Not Rated | See all certifications »
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Details

Country:

|

Language:

Release Date:

7 October 1978 (USA)  »

Also Known As:

Violette  »

Box Office

Budget:

CAD 1,360,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Connections

Referenced in Sodankylä ikuisesti: Valon draama (2010) See more »

Soundtracks

Parlez-moi d'Amour
Music by Jean Lenoir
Lyrics by Jean Lenoir
Performed by Lucienne Boyer
See more »

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User Reviews

 
Violette and Dr. Hannibal Lecter can be an adorable couple!
11 March 2014 | by (China) – See all my reviews

It is an atrociously unlawful act depicted in Chabrol's sensational melodrama, the based-on-a- true-story type (a murder case in 1933) which would usually generate a slew of horrific feedback in the social news commentary, about an adolescent girl poisons her parents in order to back up her gold-digger boyfriend to elope together.

What makes the film so gravely provocative is the entire scheme of Violette (Huppert) seems so juvenile and wanton, the viciousness is inexorable and beyond any logical solace. Violette is a lackadaisical, apolitical and promiscuous teenager, although at the age of 24, Huppert is unbecoming to pass for the role, but Chabrol adroitly restyles Violette with a more precocious patina, the dexterous transition between the good girl veneer when she is with her parents and the motel-hogging and man-hunting hussy potently incites Huppert's chameleonic escapade, each and every single frame zooms in on her unprovoked aloofness and obtrusive sex appeal. She is perpetually indulging in her own pathetic realm, sneers at her parents' clumsy intercourse and disgruntled at their ordinary petit bourgeois trivia, she is in an impetuous situation to find an egress, but the man in her dreams is a major disappointment as viewers all being well- informed in advance, it is money he is on the lookout for. The affair is doomed to futility, in some sense Violette knows it fairly well, but it is the defects (the egocentric selfishness, deep- rooted misanthrope and diabolic cruelty) in her character blind her sight, poison her mind and abet her into carrying on the abhorrent action.

After the murder plan goes as expected and the lousy gas-accident cover-up, Germaine, the mother (Audran) survives the poison, it is not a detective story after all, instead, it is an awkward moment of facing the truth, but Violette's vituperative accusation to her late father (Carmet) in order to justify her motive shatters all the expectation if there is any mercifulness left in her, she is an archetype of the malevolent side of human nature, an anomaly which defies all the logical interpretation, she and Dr. Hannibal Lecter can be an adorable couple!

Stéphane Audran, whom I just appraised for her delicate performance in BABETTE'S FEAST (1987, 8/10), is astounding here as the overbearing but doting mother of Violette, she is the one we can mostly project our compassion on, yet, we might also prompt to question her tutelage, perhaps she is at least partially responsible for the decadence of her sole daughter, how Violette's double act (constantly stays in motels and hangs out someone the parents have never met) can blatantly evade a mother's instinctive nature is a shade bemusing, not to mention the intaking of unknown medicine for the sake of hereditary syphilis, at least verify with the doctor first (and in this case, both parents are too unmindful)!

New to the canon of Claude Chabrol, the pick of VIOLETTE may not be the optimum starter, the disrupted narrative never fully register any excitement barring a bitter aftertaste and shocking values of the subject matter, its foremost merit is to grant Huppert a stage to unleash her glacial pulchritude, which one can appreciate from every unyielding close-up on her, and comfortingly augurs an eminent career for her as crème de la crème of the French cinema, her screen magnetism is inherent.


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