The story of a married woman's mid-life crisis and drift into infidelity is not the most
original of subjects (particularly in French cinema) but Virginie Wagon, in her first
full-length film, tackles the subject with fresh insight and laudable subtlety.
The explicit nature of the love scenes lend the film an erotic subtext, but this is far
from being a tawdry piece of eroticism of the shamelessly exploitative Emmanuelle
manages to be a serious character-based drama, which is primarily concerned
with a woman's need to make sense of her life as she approaches middle-age.
The film's casting is impeccable and easily compensates for deficiencies in other areas.
Anne Coesens gives a convincing portrayal of a woman who appears to have everything but
who is actually trapped in a life without excitement or surprise. Every day, Marie
goes through a similar kind of pre-rehearsed performance in her married life that she
has to use in her job as a door-to-door salesperson. It is only when she meets Bill
- a totally liberated individual with a god-like physique - that she realises this and
thereby finds a way out of her meaningless ordered existence. The charismatic
Tony Todd is perfectly cast as Marie's secret lover Bill - his scenes with Anne Coesens
are sexy and electrifying, leaving us in no doubt as to where their two characters are
heading. In his portrayal as the cheated husband François, Michel Bompoil
is the film's most sympathetic (and possibly complex) character, his performance keenly
illustrating the destructive effect that an extra-marital affair can have on the relationship
between husband and wife.
Prior to this film, Virginie Wagon collaborated with director Erick Zonca on some of his
films, notably La Vie
rêvée des anges
(1998). Zonca returned the favour by helping
out Wagon with the script and artistic design of Le Secret
. Zonca's influence
can be seen both in the tone of the film (which has a sombre realism) and the intense
focus on its central character. The film does not explain fully why the characters
behave as they do - indeed they remain something of a mystery throughout. However,
it gives enough away for us to make our own guesses and form our own judgement without
explicitly telling us which characters we should most sympathise with.
If the film has a fault it is that it feels too restrained, too cautious, in too many
key scenes. The impact on Marie of her double life isn't really apparent until quite
late into the film and this was presumably intended to fit with the film's title - Marie
is working so hard to keep her affair a secret that she has to hold back her emotions
for as long as she can. The trouble is that you would expect the longer Marie bottles
up her feelings, the more spectacular will be the outburst when she finally has to come
clean. We expect the denouement to be a raging inferno and what we get is more like
a spluttering camp fire. This may have been intentional but it doesn't fit with
our expectations and, as a result, we have a right to feel slightly cheated by the film's
rather muted ending. However, in spite of that, there is still a great deal
to like about this film and it surely marks a promising directoral debut for Virginie
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