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17 utilisateurs sur 19 ont trouvé ce commentaire utile :
Fun! What's the problem?, 14 août 2002
Auteur : philipdavies de Royaume-Uni

Most comments on this confection of a film are so impatient and ill-tempered, I just had to write! This is light comedy for grown-ups and provides a perfectly delightful interlude. What's wrong with intelligent light entertainment? For goodness' sake, it's a bit of fun!

Perhaps the problem is that 'fun' today too often equates with the industrial pleasures of the theme-park. And the children, who like their fun noisy and physical, never can appreciate the pleasures of adults. Where there is civilized conversation, the kiddies only see a lot of boring grown-ups doing boring grown-up things.

This Peter Pan syndrome afflicts increasing numbers of the population. And it's not charming - it's downright worrying. One would almost think the influential arbiters of culture actually intended to arrest the development of the individual at this level of immaturity. But that, of course, would be a supposition beyond the scope of these Web pages to entertain.

My main purpose in writing was to encourage those with more developed tastes to see this picture. It is witty, attractive, amusing and utterly delightful - just like the two leads in their many and varied roles!

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11 utilisateurs sur 12 ont trouvé ce commentaire utile :
An interesting and restrained thriller, 21 décembre 2006

Auteur : Dennis Littrell (dalittrell@yahoo.com) de SoCal

Although Betty (Isabelle Huppert, who was 43-years-old when the film was released) calls Victor (Michel Serrault, who was 69) "Papa" on occasion in this smooth and restrained thriller from Claude Chabrol, he is not her father by any means. The term is merely one of ironic affection. What they are are modern "gypsies" living on the fringes of society plying their ancient trade. Perhaps they were lovers in the past. Clearly they are a team, dependent upon one another. In particular what these small time con artists do is go to conventions, medical, dental, farm equipment salesman conventions, find a target and con the poor dupe out of some of his money.

Some. The film begins at a roulette table on the French Riviera with Betty stringing along a not entirely bright lawnmower salesman whom she invites for a drink. She slips some knockout drops into his drink and quickly invites him up to his room where, after he is out cold, Victor follows. They take some of his money. Victor insists on always playing it safe and using a rather strange but plausible psychology (which will figure later in the movie) of making the man think that perhaps he wasn't robbed, since if she had intended to rob him, would she have only taken part of the money out of his wallet? They do forge his signature on a check, but he will only find out about that later, and indeed might not be sure about how that happened.

So this is a small time con. Trouble begins for our vagabond thieves when Betty meets the CFO of a big corporation who is transferring five million Swiss francs in cash out of the country. She senses the chance for a big score, and after the mark falls in love with her (she thinks) she brings Victor into the scheme. With some tricky exchanges of the metal suitcase containing the money Betty and Victor end up over their heads in some very hot water.

The plot is a little on the unlikely side, as thriller plots tend to be, but the thing to keep in mind is the idea of taking only PART of the money. This is what fools the bad bad guys (as opposed to the good bad guys who are our vagabond duo, Betty and Victor).

Any movie starring the incomparable Isabelle Huppert (La Pianiste 2001; Merci pour le chocolat 2000; La dentelliere 1977, and many more ) is worth seeing and any movie directed by Claude Chabrol (Une affair de femmes 1988; Betty 1992; La ceremonie 1995, etc.) will have something of interest in it. Add a fine performance by Serrault, one of the great veterans of the French cinema, and "Rien ne va plus" is definitely worth seeing. However the role played by Huppert does not challenge her and Chabrol's more famous films (some of them also starring Huppert) are decidedly more interesting.

But see this for the lighthearted chemistry between Huppert who is sublimely fetching and Serrault who is clearly past the age of any pretension. Such a quasi-Platonic union based on the love that still warms the embers in a dying fire has become almost a staple of directors past their prime. See Claude Sautet's Nelly and Monsieur Arnaud (1995) which also featured Serrault for another example.

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6 utilisateurs sur 7 ont trouvé ce commentaire utile :
Charming and captivating tale of two lovable rogues that never fails to please, 18 novembre 2006

Auteur : BebeJumeau de Australie

*** Ce commentaire peut contenir des spoilers ***

I have seen this film on several occasions and its wry, slightly surreal humour never fails to captivate. It survives multiple viewings. Each time that I see it, I notice (even in subtitling) more of the wonderful asides and throwaway lines in the dialogue, often by characters just passing out of the camera, that cover references to current affairs, history and even intertextual references to a wide range of other films. The film also hovers delicately on a tightrope between realism and wish fulfillment fantasy. It even treads delicately into a milieu that is more associated with the James Bond films, when the central couple tangle with a global Mr Big in the Carribbean, and again points to the fantasy elements in the Bond films and renders them even more fearie-like and magical. It also has a lightness of touch that is sometimes missing in modern French language cinema's earnestness and search for a non-conventional, bohemian, non bourgeois, non commercial positioning. The only time that it jolts out of its unified and deftly handled aesthetic is in the execution of the courier. The starkness of this scene indicates its non-Hollywood origins. Plotwise, Victor and Betty don't miss a beat despite this confronting warning. We all cheer when Victor with Betty still handcuffed to him is knocked out by the minders on the beach. There is of course a great final twist.

Whilst there are many affectionate cinematic tributes to conpeople with hearts of gold or lovable criminals, this is one of the very best. There is a great charm in this tale about two small time criminals with their somewhat principled crimes seeking to enter the big time. Rien Ne Vas Plus should be far better known to a general audience

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4 utilisateurs sur 4 ont trouvé ce commentaire utile :
Lighter Chabrol, but enjoyable, 30 septembre 1999

Auteur : allyjack de toronto

The movie is certainly lighter Chabrol, with a plot that inherently depends on his frequent theme of the ambiguous relationships between people and their capacities for deception, but generally chooses to concentrate on understated elegance: even when Huppert finds a man dead in the bathtub with a spike through his eye (a moment of genuine shock value even though you more or less know it's coming) the nastiness is quickly absorbed into sophisticated exchanges with the (rather cliched) gangsters. The ambiguity extends to the relationship between the two protagonists, which appears to be father-daughter although the movie often seems to be hinting otherwise - the long lingering final shot is probably the final tease in this respect. Serrault plays his character in an engagingly grumpy, short-fused manner, which contrasts pleasantly with Huppert's pure show of elegance. Even though the opening scam seems like a dress rehearsal for a more complex and challenging movie than we ever actually get, the thing glides by most enjoyably; no less so for the faint air of slumming.

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3 utilisateurs sur 3 ont trouvé ce commentaire utile :
Substandard Chabrol, 20 février 2008

Auteur : JasonTomes de Royaume-Uni

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'.

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2 utilisateurs sur 2 ont trouvé ce commentaire utile :
Chabrol, Huppert and Serrault concoct a sophisticated, amusing and satisfying con game, 31 mai 2008

Auteur : Terrell-4 de San Antonio, Texas

*** Ce commentaire peut contenir des spoilers ***

It's hard not to like clever con games, even when they're violent (The Usual Suspects) or unpleasant (House of Games). They're just about irresistible when they're amusing and surprising (Nine Queens). That we're part of who is being conned is a major part of the pleasure.

Claude Chabrol's The Swindle (Rien ne va Plus) isn't especially violent (well, there's the matter of a spike in a man's eye, but he's dead when we see him), but The Swindle is definitely sophisticated, amusing and very clever. Two of the reasons it works so well and is so satisfying are the lead players, Isabelle Huppert as Betty and Michel Serrault as Victor.

Who are these two? Betty is in her forties, elegant, cool and smart. Victor is in his early seventies, shrewd and clever. They are small-time con artists who work the conventions and upscale gambling houses. Victor sets up the scams and Betty seduces the mark, but only to the point of slipping a mickey into a drink. When the mark passes out in his room, Betty lets Victor in and they take the money...but only enough to make the mark believe later that he may not actually have been robbed. Then off they drive in their big, fully equipped RV back to Paris. We observe all this, during the first third of the film, with growing delight in their humor, their logic and their professionalism. Are they lovers? Are they related...perhaps father and daughter? Are they old friends? Are they just affectionate partners? Because of the chemistry between the two characters and between Huppert and Serrault, we're never quite sure. "Betty, you know I love you, but I can live without you," Victor says at one point.

We instantly like these two, although we'd better be sure where our wallet is if we go out with them some evening. They know their limits and they're careful with their business. But then we notice that Betty may have a plan of her own. When the two meet at Sils Maria, near St. Tropez, to work a dentists' convention, Betty has already developed a relationship with a good-looking, self-assured man who, she tells Victor, is a courier who will be delivering $5 million Swiss francs. He could be the biggest con they've ever attempted...but Betty seems to be working both sides. Victor is showing signs of jealousy. And the man in question is actually a courier for the mob who is planning to leave France with all that money for himself, with Betty on his arm. Who is scamming whom? This three-way puzzle gets complicated.

Chabrol shows us all this with such cool, sophisticated humor that it becomes a great pleasure just to sit back and watch Victor and Betty -- and Chabrol, who also wrote the screenplay -- move the pieces around the board. Huppert and Serrault are such fine actors, and work so well together, that their relationship as Betty and Victor becomes a very satisfying and intriguing part of the story. Victor knows they are stepping out of their league, but he loves a challenge...and he has been good enough to get the better of anyone he considers stupid. We hope that will includes a vicious mob boss and his thugs. Still, as Victor says, "It's easy to swindle someone who thinks they have the upper hand."

The movie ends as it began, with a charming little scam, this time involving just Victor and Betty. May they have a long life together taking advantage of all those foolish marks.

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2 utilisateurs sur 2 ont trouvé ce commentaire utile :
identify actress Marie Dubois, 18 janvier 2008

Auteur : yvonc de Canada

I have seen and recorded this movie by Claude Chabrol on the TV. I have been a fan of Chabrol's films for many many years. Let's say that the suspense master Claude Chabrol is the French equivalent to Alfred Hitchckok. The actors Serrault and Huppert are good but the one that I found particularly excellent is the head mafiosi who listens to the opera in the mafia Caribbean quarters. What a presence, what a good actor! It is also good to see a movie that is not saturated with special effects as films are done now, with excess. I hate those special effects because they are never perfect illusions, and they almost never fool me. Films are also always enhanced by the nice scenery they contain and "Rien ne va plus" is no exception. Actress Marie Dubois is in the film for a small role, but I have been unable to identify her. Can someone identify her for me, please? Thanks. YC

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2 utilisateurs sur 2 ont trouvé ce commentaire utile :
As A Con Fan I Must Say, 13 mai 2007

Auteur : jzappa de Etats-Unis

It was refreshing seeing a con film again. As it is, it is quite light, and there is hardly anything I haven't seen in it, but does being pleased necessitate a constantly churning wheel of brand new things? It's a fun hour and forty-five minutes of standard con mechanics, and if you like con mechanics you will be delighted.

There is a point where you will find yourself surprised as the tone the film suddenly takes and controls well. Another thing it controls well is its handling of its twists, for there are always twists and mentioning their mere presence is like mentioning Spider-Man's presence in Spider-Man 3. The twists are interesting in that they feel predictable or that they're taking the simple way out, but that is never for certain.

Michael Serrault is the film's great highlight. He is tremendously likable and infectiously dry, and his occasional physical timing or subtly crisp one-liner holds the film's smiling side at bay amidst some token moments of comic relief, namely the presence of the gaudy widow whom Serrault constantly must try to hide from. And of course Huppert, as the film's real star, is truly perfect as a con woman, a 100% confident seductress, the fleshed out realization of the practically imagined version of a con woman. She does not stand out nor is she below par, even if she is upstaged a wee bit by Serrault, because she even characterizes her character's elusive quality.

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4 utilisateurs sur 6 ont trouvé ce commentaire utile :
Lightweight Chabrol film, 9 juillet 2003

Auteur : rosscinema (rosscinema@cox.net) de Oceanside, Ca.

Claude Chabrol is the master from the French New Wave who specialized in mysteries with sordid characters but aside from only a few hints of Chabrol's flare, this is a predictable "Swindle" film. Story is about an older conman named Victor (Michel Serrault) and a woman named Betty (Isabelle Huppert) who are clever but mainly smalltime thieves. We see Betty at a casino flirting with a businessman and when he's not looking she spikes his drink. They end up in his hotel room and he passes out. They steal some but not all of his money so that when he wakes up he won't be sure if he gambled it away or not. Then Betty decides to run a scam on a financial courier (Francois Cluzet) for a crime syndicate who is suppose to transfer 5 million Swiss francs but of course they plan the old "Switcharoo". After this happens the head of the syndicate named Monsieur K (Jean-Francois Balmer) escorts the two of them to his place and wants his money back! This is definitely not Chabrol's best effort but its not because its not well made, it is. But the material is so familiar that at times the film seems run of the mill. There are some nice touches like Victor always being mistaken at the hotel for an employee. The script does have you guessing about certain things like the relationship between Betty and Victor. Are they lovers? Is he her father? A few times during the film Betty calls him "Father" but it might be a pet name and they might also be tutor and student. And the caper itself is never clearly defined as we suspect that Victor had the whole thing planned ahead of time. Usually the characters in Chabrol's films are complicated and challenging for the viewer but thats not the case here. Its definitely a lightweight effort and while its mildly interesting mainly for watching another re-teaming of Chabrol and Huppert, its nowhere near Chabrol at his best.

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5 utilisateurs sur 8 ont trouvé ce commentaire utile :
Huppert and Serrault is marvelous together in vintage Chabrol, 13 juin 1999

Auteur : Ruby Liang (ruby_fff) de sf, usa

"Rien ne va plus" is literally 'Mere nothing no more' or 'Trifle never again'. The con game is the premise, the relationship is the anchor. Go in with no expectations and be an observer to Chabrol's "The Swindle". Sit back, relax and enjoy the pairing of Isabelle Huppert and Michel Serrault -- they look so comfortable together.

He's a pro, definitely knows his con "art" and scam skills. She's a quick learner, a smart protégée. The age difference does not matter. The real relationship? Why, let it be. They are at ease with each other. Papa and daughter, business partners, lovers, whatever the relationship, they understand each other, know each other's quirks and habits, and yes, complement each other's life. C'est si bon. C'est la vie.

Chabrol does not hit you over the head with what he's trying to convey, nor give us over the top violent actions or sequences. It's like a French cuisine meal well served, no hurriedness, with connoisseur wine accompanied. We're first introduced to how the pair works together, their con artistry in low-key fashion and not overly ambitious about the profit they reap. In fact, Victor (Serrault) is a decent man, he makes sure they do not clean out the target's wallet.

Victor is alert and protective. He lets Betty (Huppert) have free rein. "You know I love you and I can live without you," he said to her when she wants to take a break -- going away for a few days before the next project. Actually Betty is trying to do a "project" on her own -- perhaps to thank Victor for taking care of her and providing the opportunities for her steady flow of income. Perhaps she wants to see how good she can be -- without him by her side all the time. Perhaps she wants to know she can make it on her own -- and bring him income vs. the usual trifle way.

Somehow Betty needed Victor's help, and unexpectedly, the pair is no longer small time con artists -- it's big time, "the administration" is involved! She meant well. He knows. He appreciates. He's attached and tries to save both of them out of the mess. Victor is such an artist at this. As we follow the pair, we eventually can tell what Victor's moves and thinking could be. We guess with him. We're afraid for him, and her -- ah, he would have.but, he would not.. Yes, that's what he would do. But, would he? Would she?

It's vintage Chabrol indeed. I remember my first Chabrol film was "The Does" (Les Biches) 1968. I noticed Isabelle Huppert when she was in "The Lacemaker" 1977 followed by "Violette" 1978 (another Chabrol). Michel Serrault played opposite Emmanuelle Beart in "Nelly and Monsieur Arnaud" -- what a gem! These French films are all pretty much for mature audience consumption. You will be able to appreciate if you can take French pace in stride.

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