In Lausanne, the aspirant pianist Jeanne Pollet has lunch with her mother Louise Pollet, her boyfriend Axel and his mother. Lenna leans that when she was born, a nurse had mistakenly told to... Read allIn Lausanne, the aspirant pianist Jeanne Pollet has lunch with her mother Louise Pollet, her boyfriend Axel and his mother. Lenna leans that when she was born, a nurse had mistakenly told to the prominent pianist André Polonski that she would be his daughter. André has just remar... Read allIn Lausanne, the aspirant pianist Jeanne Pollet has lunch with her mother Louise Pollet, her boyfriend Axel and his mother. Lenna leans that when she was born, a nurse had mistakenly told to the prominent pianist André Polonski that she would be his daughter. André has just remarried his first wife, the heiress of a Swiss chocolate factory Marie-Claire "Mika" Muller a... Read all
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Their college age `son', Guillaume, actually belongs to somebody else. Andre's real child seems to be Jeanne, (Anna Maoglalis) a lovely piano student. Jeanne and her boyfriend, a medical lab intern, are trying to figure out what poison will do some undetected dirty work (Chabrol originally studied to be a pharmacist) Chabrol started his career in the 1950's co-authoring well respected essays on Alfred Hitchcock with fellow countryman and future director Eric Rohmer. Unlike DePalma with his very obvious `Hey, hey look, what Hitchcock film is my scene copied from?' Chabrol wisely keeps his Hitchcock copying to a minimum with subtle Hitchcock styled camera movement. Instead of celebrating `technical innovation', Chabrol uses his camera to keep us gazing at the film's characters.
In a way, it's a (light) psychological murder drama, and we kinda know the seed of evil is with Huppert's character. The trailer and the advertising synopsis suggested that obvious clue. But somehow, it didn't decrease the level of suspense. Huppert again exercises her art of subtle acting - that nonchalant facial expression that hardly flinches or betrays her suppressed inner conflicting feelings behind the mask of well-groomed outfits and demeanor.
For the most part, we follow the interaction between the other characters (good supporting cast): Mika's husband André Polonski (Jacques Dutronc) the famous pianist, the sluggish step-son Guillaume (Rodolphe Pauly) whom Polonski wants to cherish but has not the time to understand the growing teenager - whose mother, Polonski's beloved wife Lisbeth, died in a car accident years ago, and Jeanne Pollet (Anna Mouglalis) the newly introduced excitement in Polonski's life - a protégée eager to win a piano competition, and Jeanne's widowed mother Dr. Pollet (Brigitte Catillon) who heads the crime lab. Jeanne is an intelligent young woman besides being a talented pianist with potential, and we led to believe her suspicion about Mika and her serving of hot chocolate nightcaps to the Polonski's.
Chabrol's writing and directing style never thrust obvious murderous threads in front of us. There are no actual blood or acts of violence we see. Everything seems so civil. Clues are suggestive through conversational exchange between the characters and outside of the frames. That's the masterful beauty of a Claude Chabrol piece - exquisitely presented and delightful to enjoy at ease.
The notion of serving up possibly 'poisoned' hot chocolate does remind one of Hitchcock's 1941 "Suspicion" with Cary Grant and Joan Fontaine, including a similar driving scene yet outcome reveals off camera cleverly through a conversation.
Lately, Huppert's taken on roles that are, perhaps, psychologically in need of TLC (tender loving care): here in "Merci pour le chocolat", in Haneke's "The Piano Teacher", and in Ozon's who dunnit musical "8 Women" - she actually gets to have the most changes of outfit (3) than the other 7 actresses, besides performing her number in 'talk through' style sitting down at the piano vs. dancing around singing the song. She's having fun in portraying such characters, no doubt.
If you enjoy foreign movies, a French thriller drama with subtitles by Ian Burley (who did the wonderful translated subtitles to the Italian film "Bread and Tulips"), "Merci pour le chocolat" is for you. Enjoy!
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Did you know
- TriviaAt the time this movie was shot, the house was owned by David Bowie, who was trying to sell it.
- GoofsAt around 40 minutes in, when Mika is talking to Dr. Pollet in the hospital, two crew members' feet and a cable (possibly the boom mic's cable) are visibly moving, reflected on the side of a table. This shot lasts for approx 50 seconds.
- ConnectionsReferences Night at the Crossroads (1932)
- SoundtracksFunérailles
de Franz Liszt
Par Claudio Arrau
Copyright Philips Classics
Avec l'aimable autorisation de Universal Music Projets Spéciaux
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Details
- Release date
- Countries of origin
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- Language
- Also known as
- Merci pour le Chocolat
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $443,238
- Opening weekend US & Canada
- $14,868
- Aug 4, 2002
- Gross worldwide
- $7,972,251
- Runtime1 hour 41 minutes
- Color
- Sound mix
- Aspect ratio
- 1.66 : 1
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