Les Biches (Sub)

Starring:Henri Attal, StÃ©phane Audran, Serge Bento, Henri Frances, Nane Germon, Jacqueline Sassard, Jean-Louis Trintignant, Dominique Zardi
Studio: Pathfinder Home Ent.
Product Type: DVD

Amazon.com

A high point from the middle career of French New Wave original Claude Chabrol, Les Biches is one of the director's tales of complicated, intertwined fates leading to horrifying ends. Chabrol's then-wife, Stephane Audran, plays a rich bisexual who picks up an impoverished young woman (Jacqueline Sassard) and takes her to her home in St. Tropez. There, much to her hostess's consternation, the visitor strikes up a romance with a handsome architect (Jean-Louis Trintignant), only to find that Audran's character is involved with him as well. The overlapping relationships grow full of rich mystery and dark possibility as the unwieldy situation begins to beg for a resolution. A study of class, desire, and compulsion, Les Biches has the hallmarks of Chabrol's streak of fascination with operatic fatalism. --Tom Keogh

Description

Directed by Claude Chabrol, Les Biches is a landmark in film history: its theme of bisexuality and upper-class decadence is surpassed only by its cool precision of cinematic style and exceptionally subtle performances. Socialite Frederique (Stephane Audran) encounters young student Why (Jacqueline Sassard) on the streets of Paris, seduces her and whisks her off to spend winter with the chic crowd of St. Tropez. When architect Paul (Jean Louis Trintignant) meets Why, he too charms her and comes between the two lovers. Frederiqe then seduces Paul out of jealousy, but finds herself feeling real love. Paul and Frederique invite Why to live together with them, resulting in a ménage a trios beset by jealousy, madness, and ultimately, murder.

Customer Reviews:

Beautiful period piece.......2006-12-29

Les Biches is from the early middle period of Claude Chabrol's long career in film making. It is interesting but somewhat inexplicable. It features longtime French leading man Jean-Louis Trintignant as Paul Thomas, an architect who comes between wealthy playgirl Frederique (Stephane Audran) and her latest plaything, street artist "Why" (Jacqueline Sassard) with disastrous consequences.

Audran, who was Chabrol's wife at the time, sports spit curls down the side of her ears like sideburns which is apropos since her character is bisexual. She is a woman with a steely imperial manner who enjoys conquests above all. First she picks up Why, beds her, and then when Paul arrives on the scene showing an interest in Why, she seduces Paul and dumps Why.

The question is why? In the central scene (as far as the plot goes) the three get drunk with seemingly obvious intent only to have Frederique nix the menage a trois and shut the bedroom door on Why. Why, who has been desperately trying to look like Frederique, sits outside the bedroom door and listens to the drunken lovers inside and sucks on her fingers.

Obviously Paul would have gone along with this juicy arrangement, and certainly Why wanted it desperately. But Frederique is malicious and all conquering. Paul, who is anything but a heroic character does not insist on Why's joining them in bed not because he is madly, exclusively in love with Frederique but more likely because Frederique is the better catch because of her wealth. He is a cautious, opportunistic man.

The dialogue is sharp and witty but reserved and terse. One striking feature is the way the eyes of the women are so heavily made up. Clearly this signals a film made in the sixties. The scene in which Frederique hosts a poker game certainly anticipated the popularity of the game today. Interesting are the sycophantic gay guys that Frederique keeps around her chateau in St. Tropez for amusement.

The finish of the film is a bit of a surprise and really not that well foreshadowed. Also the title, Les Biches (translated as "Bad Girls" in English) is a bit of mystery. More appropriate might be "L'imperatrice petite" with the focus where it should be on the character of Frederique.

Handsome Does.......2006-09-05

Many American reviewers (though not all, thankfully) seem completely baffled by this wonderful sample of French sense and sensibility. Some think it is funny. I couldn't detect anything funny about it. Some say it is not erotic. To me it seemed exceptionally erotic. Others find it dull and boring. Tant pis for them.

Occasionally Chabrol is said to be "The French Hitchcock". However, the subtlety and penetration of Chabrol's presentation and analytic understanding of the psychology of his characters is far superior to anything by Hitchcock, perhaps because Chabrol is unencumbered by the simplistic trammels of Freudianism. The suspense lies in how the increasingly impossible tangle of the relationships is going to be resolved. The straightforward solution would be for Why to shake herself away from the hothouse she has entered; but here the underlying factor takes over: the atmosphere of wealth, ease and gratification has irrevocably seduced her. Corruption of innocence and simplicity appears to be a persistent theme of Chabrol's, from Les Cousins onward. Those who cannot cope are put through hell before they are destroyed.

Almost all the brief summaries of this exceedingly complex film, including the one on the dvd cover, are highly misleading. It defies easy explanation. Whose actions are right and whose are wrong as the events unfold? Each of the three main characters acts with a natural selfishness, but what exactly are their underlying motivations? Why does Frederique seduce Paul? Why does Paul ditch Why? What does Why hope to gain by staying on? Are any of them actually capable of loving another person? Is homosexuality merely an extreme form of narcissism?

Doubles.......2006-07-20

Brittle, complicated,timeless on the one hand yet definitely of a time on the other, Claude Chabrol's sublime "Les Biches" (not what you think, btw...but meaning "The Does" as in a female deer), released in 1968 resonates with subtext and reverberates with thought and meaning from which several subsequent directors have shamelessly borrowed: particularly Robert Altman in his much maligned, though glorious "Three Women" and Barbet Schroeder's more pedestrian "Single White Female."
Frederique (the iconic Stephane Audran) is rich, bored, mostly gay and looking for diversion when she comes upon street artist Why (Jacqueline Sasssard...and yes that is her name) who draws chalk Does on the Paris streets, is homeless, begs for money and sleeps with whomever can offer her a bed for the night. F is more than eager to offer Why a bed, a home in St. Tropez and a life filled with luxuries. But what Frederique is not willing to offer Why is her freedom. F is the master/hunter and Why is the slave/prey: or is it vice versa as throughout this film their roles change,flip then flop then flip again.
Chabrol is dealing with so many things here: the ability to receive or give love unselfishly, the doubling or taking on the persona (shades of Bergman's "Persona") of the object of your love, the stain and ruin of jealousy and on and on.
"Les Biches" is simple and stubbornly straightforward on one level yet feverishly complicated on most. Is Love hard as a *itch or soft as a Doe? Look elsewhere if you are looking for the easy answer: You won't find it in "Les Biches."

"why".......2005-04-13

"Why" is the perfect name for this character who embodies everthing we know but can't bring to the surface. This street person who must depend on others has class which trumps royalty. She maintains her bearing through the denouement, which arguably winds up in revenge, revolution or insanity. Jacqueline Sassard is "Why" in one of the great roles in modern cinema.

changing personas.......2004-12-12

i read the fascinating reviews of chabrol's "les biches"...and i agree with the old review by laslo kovacs...what i wonder about too, if i may mention, being an admirer ofchabrol's films, is the haunting soundtrack. would you happen to know the soundtrack listings? the opening scene on the bridge that continues at taut plot turns throughout, the sinister violins i am talking about, is very hitchcockian, with a more internal sinisterness of psychological intent underneath the characters. when she picks up the knife, is it immediate danger ? is it a foreshadowing? is the knife a symbol of outward intent or inward intent of the character? she inievitabl kills her self as she takes on the persona of stephane audran. the vocal music later on during the fireplace scene and later the scene at the bedroom door is haunting. i agree with you, the story is sad underneath, very sad. the scene where she listens at the door of thebedroom, with the music playing, is of intense longing and sorrow. it reminds me too, this movie, of persona, by ingmar bergman. i reccomend it. so i am very interested to know if anyone knows the soundtrack listings & if any of this music is available on media (cd, album).