The Swindle
(1997)
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The Swindle
(1997)
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| Cast overview, first billed only: | |||
| Isabelle Huppert | ... |
Elizabeth /
Betty
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Michel Serrault | ... |
Victor
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| François Cluzet | ... |
Maurice Biagini
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Jean-François Balmer | ... |
Monsieur K
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Jackie Berroyer | ... |
Robert Chatillon
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Jean Benguigui | ... |
Guadeloupe Gangster
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Mony Dalmès | ... |
Signora Trotti
(as Mony Dalmes)
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| Thomas Chabrol | ... |
Swiss Desk Clerk
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Greg Germain | ... |
Chatty Man
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Nathalie Kousnetzoff | ... |
Blond Woman
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Pierre Martot | ... |
Conventioneer
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Eric Bonicatto | ... |
Conventioneer
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Pierre-François Dumeniaud | ... |
Conventioneer
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Yves Verhoeven | ... |
Pickpocket
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Henri Attal | ... |
Greek Vendor
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Betty and Victor are a pair of scam artists. One day Betty brings in Maurice, a treasurer of a multinational company. Maurice is due to transfer 5 millions francs out of Switzerland, and Betty is convinced he plans to steal that money. On whose side is Betty - Victor's, Maurice's or only her own? Written by Anonymous
What a viewer makes of a film very much depends on the expectations that he or she brings to it. I had previously seen five other films directed by Claude Chabrol and considered all of them impressive. "Rien ne va plus" came as something of a disappointment. Though recognisably the work of the same director, it struck me as markedly inferior in terms of atmosphere and depth - which is not to say that it is a bad film by general standards. The quality of the acting is very high. Isabelle Huppert (Betty) is always extremely watchable, and Michel Serrault (Victor) is equally subtle. Their characters may not be the most credible of thieves, but the first part of the film, showing their practised hotel-based criminal double-act, is polished and amusing. After this, my enjoyment of the film steadily diminished. That none-too-original plot device, a briefcase full of banknotes, comes to the fore. (Criminal 'capers' have never much appealed to me.) When the action then moves to Guadeloupe, it turns into a run-of-the-mill gangster film (a genre that I like even less). I found myself waiting for the end - and, when it arrived, it might have come from Hollywood.
Viewers who do not view it with my preconceptions and aversions may certainly enjoy "Rien ne va plus". It is undoubtedly a well-made film. In future, though, when I recommend the works of Chabrol, while drawing attention to "Les biches", "Que le bete meure", and "Merci pour le chocolat", I may add the proviso: 'But I wouldn't bother with "Rien ne va plus". It's nothing very special in comparison'.