J'ai épousé une ombre (1983)
Directed by Robin Davis

Film Review

Robin Davis directed this this competent yet somewhat tame adaptation of a novel by William Irish, an American writer whose works have frequently found their way into French cinema. (François Truffaut adapted two of Irish's novels for his films La Mariée était en Noir (1967) and La Sirène du Mississippi (1969)).  One-time assistant to Georges Lautner (on films that include Le Pacha (1968) and Les Seins de glace (1974)) Robin Davis directed a handful of films in the 1970s and 80s before migrating to television, where he has since spent the greater part of his career. J'ai epouse une ombre is arguably Robin's most respectable film for the cinema, far more grown-up than his Lautner-lite style thrillers typified by Le Choc (1982). The film's main asset is its lead actress, Nathalie Baye, who gives a convincing portrayal of a distressed woman who is forced into assuming another woman's identity - just the kind of complex, trauma-laden role in which the actress excels.

Apart from a few embarrassing moments where the slushy sentimentality gets trowelled on a bit too thickly, the film's blend of romantic melodrama and thriller works surprisingly well, with any weaknesses in the direction or script more than compensated for by the quality of the performances. In addition to Nathalie Baye's compelling portrayal of guilt, distress and desire, there are pleasing contributions from her formidable co-stars Francis Huster, Richard Bohringer and Victoria Abril. Madeleine Robinson still has a remarkable presence even at this late stage in her exemplary screen career. Alas, the screenwriting is not up to the same level as the acting - the plot is a tad contrived and struggles to convince in places. Fotunately, Robin Davis's handling of the script just about makes it credible, helped by some moody photography and the suitably introspective performances from his talented lead actors.

Film Synopsis

Eight months pregnant, Hélène is abandoned by her brutal boyfriend Frank and is forced to start over again.  Leaving her industrial hometown, she takes the train for the southwest of France.  On the train, Hélène meets a couple of newly weds, Patricia and Bertrand Meyrand, who allow her to take their sleeping berth - just before the train is derailed, killing most of the passengers.  One of the few survivors of the derailment, Hélène regains consciousness to find herself in hospital, having just given birth.  To her surprise, she is mistaken for Patricia Meyrand, who in fact died with her husband in the train accident.  Bertrand Meyrand's parents, Léna and Mathieu, insist that Hélène stays at their large country estate in Bordeaux, believing that she is their daughter-in-law.  Unable to convince anyone of her real identity, Hélène allows the deception to be played out.  However, she becomes increasingly aware that not everyone is taken in by the lie.  The Meyrand's younger son, Pierre, who manages the estate's vineyard, appears antagonist towards her, whilst his supposed girlfriend, Fifo, is openly hostile.  Hélène's paranoia turns to panic when she begins to receive anonymous letters through the post, from someone who clearly knows who she really is…