Dir.: Tony Richardson; Cast: Jeanne Moreau, Ettore Manni, Keith Skinner, Umberto Orsini, Paul Burge; France/UK 1966, 105′
Based on a story by Jean Genet and adapted for the screen by Marguerite Duras, Tony Richardson’s sinister arthouse drama Mademoiselle did not fare well with the critics (or the public) when it was released after its Cannes premiere.
Perhaps audiences expected something different from an MGM release: in those days there was a chasm between mainstream and independent cinema. It could have been down to the fact that neither viewers nor critics were aware of Richardson’s sublime subversiveness, even though it was not the first time his idiosyncratic style had been aired on the silver screen.
Jeanne Moreau is the Mademoiselle in question, a school teacher and an inverted version of Colin Smith from The Loneliness of the Long Distance Runner played by Tom Courtenay, a few years earlier. Here Moreau’s teacher rebels in a series of spiteful acts on her village community, each time covering them up with over-adjustment.
The attractive, middle-aged Parisian arrives in the country town of Corrèze (the film was shot in Le Rat, with cast and crew living locally for the duration) looking for a new start in life, and hoping to up the ante with her sophisticated urban ways. Put simply, she wants to be a big fish in a small pond. Posing as a respectable buttoned-down teacher during the day, the nighttime transforms her into a pyromaniac, setting fire to houses and barns, she poisons farm animals and even creates a flood of biblical proportions during an annual get together.
But the blame falls squarely on the resident Italian lumberjack, Manou (Manni) whose lady-killing potential have made him unpopular with the village men. Fellow Italian Antonio (Orsini) asks Manou to move on, but suggests his son slightly backward son Bruno (Skinner) should stay on at school where his studies are progressing rather well with Mademoiselle. But Bruno is no fool when it comes to male intuition, and he smells a rat when it comes to his teacher. Picking up on these bad vibes she lashes back calling him a ‘gypsy’ and demonising him in the classroom.
Meanwhile, a subtle chemistry simmers between Mademoiselle and Manou; and this fatal attraction drives the story forward, her covert lust fuelling the incendiary acts of rebellion. Sadly the farm animals come off worst, many of them losing their lives in the process. Eventually the two come together for a rather wild night of passion in the pastoral splendour. Arriving home the worse for wear, Mademoiselle is asked by a concerned neighbour “was it him?”. Her tacit agreement thereby signing Manou’s death warrant that sees him lynched by the angry male mob. Mademoiselle leaves for good shortly afterwards, Bruno spitting at her from a distance, having found evidence to confirm his suspicions – although lacking the confidence of his convictions.
Look Back in Anger DoP David Watkin once again joins Richardson’s Woodfall crew, his delicately rendered black and white images creating a bewitched and magical wonderland in the English countryside evoking folkloric associations with Midsummer Night’s Dream and The Wicker Man. Mademoiselle is an exercise in Freudian dualism. Ironically Richardson and Moreau began an affair during film, fired up by the heady atmosphere in the summer heat. Over fifty years later, the film still feels fresh and real with its central theme of xenophobia and mistrust.
NOW ON BFI BLU-RAY/DVD from 21 SEPTEMBER 2020