There are films where things happen that at first do not make sense.So you think about it all during and maybe after.Maybe you watch it again.Now MEMENTO would be one of those films.Then there would be DEATH IN A FRENCH GARDEN.Almost every aspect of the plot makes no conventional sense.There are some seriously open ended concepts.eg the father allegedly had boyfriends earlier in life,there is mention that the mother only wants the guitar teacher because he looks like her brother.Who really wants who and how are any of them really connected?The alleged hit-man seems to have set the teacher up for the fall all along,but then doesn't have any bullets in his gun on purpose at the time needed.OK,every aspect of his character screams wannabe lover of the teacher,which is maybe why he allows him to know a version of the truth which results in him coming into 300,000 Francs for making every mistake in the book. Why is there no lock on the new place?What is the point of the teasing,perverse neighbour who lies about everything? I ended up thinking that the makers of this film were having a laugh because every aspect of every character could be a lie.Not one thing about any of them holds up to examination or belies true human interaction and behaviour. Even though at the end it is totally frustrating,I still liked the damn thing!Its open to numerous interpretations,but I don't think any would truly hold water.I think really its just a deconstruction of the labyrinthine narrative of the conventional thriller/neo-noir.None of it means anything...because I may not sleep for a week thinking about what it all means really...and no film is that important!
12 Reviews
No other country but France would get away with this film!
brokenbrain4 February 2007
Warning: Spoilers
A paradoxical mystery you hope you never solve
Haddoque1 June 2007
Warning: Spoilers
One of the movies that keep on running long after you've stopped watching. One of those paradoxical stories, that become the more confused the more one understands. One of those one is tempted to watch again and again, hoping to understand this time, at the same time anxious to spoil the commitment by finally finding out what it's all about. Perhaps paradox is the key. Nicole Garcia's tempting beyond all limits turns out to be destruction (poor telephone!), Piccoli's apparent impotence turns out to be masterminding some hideous plan, Bohringer's menacing ways lead to redemption. The more Malavoy gets into the mess, the more lustfully he ventures on getting even deeper into it. Malavoy's father hands the little time-bomb to his son as if it was his old watch or camera, wishing him luck and grinning as if it's been just another visit of a beloved child. And things become boring once they're solved and all the hoods dead. What's left is a country community on an old farm. Who wouldn't yearn to be back in the beautiful and elegant bourgeois world Malavoy and his pupil have just left, the corruption and conspiracy it conceals below an innocent surface not being an odd, but the matter you actually want.
what lies beneath a cozy upper class mansion
dbdumonteil13 May 2007
Warning: Spoilers
Michel Deville is a French filmmaker known for his aesthetic refinement and "Péril en la Demeure" bears its author's trademark. It's filmed with elegance and everything from the scenery to the acting, the camera angles to the music without mentioning witty dialogs breathes the refined. One can't forget the neat link shots, the fluid editing that add to the pernicious charm this shady thriller exudes from its three exploited mainsprings: perversion, manipulation and voyeurism. Nearly everyone in this film is a peeping tom like the offbeat female neighborhood (Anémone) who films the lovemaking between the guitarist teacher David (Christophe Malavoy) and Julia (Nicole Garcia) or Julia's husband Graham (Michel Piccoli) who watched these lovemaking sessions on the videotape. As for the manipulation, Julia leads David up the garden path by making him believe that he killed her husband while seasoned killer Daniel (Richard Bohringer) tries to make him understand that he's got a mission to fulfill.
Deville diverts the codes, the ingredients of the genre to his own advantage to create a stylish, idiosyncratic thriller and a mirror film directed to the viewer about his peeping tom side. It's easy to let oneself immerse in this universe and to forget the irregularities or glitches that undermine a little the storytelling even if Deville has recourse to zones of shadow and clues likely to explain the characters' motivations. If the filmmaker bore this in mind, he can be forgiven for his possible mistakes.
Deville diverts the codes, the ingredients of the genre to his own advantage to create a stylish, idiosyncratic thriller and a mirror film directed to the viewer about his peeping tom side. It's easy to let oneself immerse in this universe and to forget the irregularities or glitches that undermine a little the storytelling even if Deville has recourse to zones of shadow and clues likely to explain the characters' motivations. If the filmmaker bore this in mind, he can be forgiven for his possible mistakes.
Laying It On With A Trowel
writers_reign4 July 2004
Warning: Spoilers
This is one for the 'style-over-content' buffs which is not, of course, in itself a bad thing. Stylish it definitely is; in spades yet, but content. It's one of those entries where even as you are admiring the style you find yourself asking pertinent questions (Warning: Spoilers Ahead). How has the guitar tutor come to the attention of the family, so much so that the father will consider no one else to teach his - as it turns out - precocious daughter? Would the tutor really leave a tuning-fork behind at his initial interview, indeed, would he even have 1) taken it at all and 2) removed it from his pocket if he had? Given that he DID leave it behind without realising, would the wife insist on returning it to him immediately and then seduce him? Would an apparently single woman living alone move into a large, expensive, family-sized home, effect a limp merely because she had a cane with her, invite a stranger into her new home and over light refreshments engage him in a discussion on the relative pros and cons of blonde versus brunette pubic hair? Would this same eccentric neighbor begin immediately to videotape the sex sessions the tutor enjoyed with the mother of his pupil and then send the tapes to the participants for no recognisable (i.e. blackmail) motive? Would a hit-man be passing at the precise moment the tutor is attacked and, having saved the tutor would the hit-man go on to befriend him and ultimately confide that his next 'target' is the father of his pupil? If you answered 'yes' to any or all of these questions do you always park your brain at the popcorn stand on the way to the auditorium? The trick with a movie of this kind is that, Yes, you DO ask yourself these questions even as the improbable sequence of events unfolds before your eyes but you choose to IGNORE them and surrender to the Style and/or performances. With heavy hitters like these you won't go far wrong and the film remains ultimately a triumph of style over content. 8/10
Playful, bold, and surprising
gridoon202419 February 2012
Warning: Spoilers
"Death In A French Garden" is a film that only the French could have made, and, in this case at least, this is meant as a compliment. It's both low-down and elegant; it's sexually very frank, with characters on the edge of morality, but at the same time the director keeps winking at you, telling you not to take all of this too seriously. This attitude is personified by the lead of the film, Christophe Malavoy, who stays bemused and unshocked for, say, 95% of the time, even though he meets nymphomaniacs, weirdos, assassins, etc. Some of these characters may appear extraneous at first, but they all serve their purpose as the constantly surprising plot unfolds. And classical music buffs will love the eclectic soundtrack. *** out of 4.
an erotic thriller that aged badly
dromasca12 March 2022
I decided to watch 'Péril en la demeure' (English title is 'Death in a French Garden') mainly for Michel Piccoli, an actor I really like. But his is a supporting role and he appears in only a few scenes. This was the first of my disappointments with this film. Michel Deville is a director who was quite prolific between the '60s and the '80s and many of his films - comedies or thrillers, featuring hot, impossible and illicit love affairs in most of them - often manage to create an attractive cinematic atmosphere. 'Peril en la demeure' can be categorized as an erotic thriller, with an adulterous love story complicating itself in a criminal intrigue, but Deville's tendency to focus on style rather than substance manages to annihilate both facets of the story. 'Péril en la demeure' is a film that has aged badly, the 37 years that passed since its production are visible not only in car brands, in videotapes or in the form of phones but also, or especially, in the script.
Music teacher David is hired by the well-to-do couple Graham and Julia to give guitar lessons to their talented and beautiful daughter Vivianne, who looks amazingly as Nabokov's Lolita. Only a few minutes in the film David and Julia find themselves in bed, involved in a hot relationship. Not long after, they discover that they are being watched and even filmed on videotapes, perhaps by the curious neighbor Edwige, perhaps by the mysterious Daniel who appears as a savior at some point in David's life and confesses to him that he is a professional ... paid killer. Inevitably, at some point in the story, dead bodies will show up.
'Péril en la demeure' brings together two stories - one can be called romantic, the other a thriller. For this genre of films to succeed, the two narrative threads need to work together and amplify each other. The problem is that both stories lack credibility and their combination doesn't work or bind them together. I failed to understand either the romantic motivations of the characters or the logic of the detective action. Why does the rich woman suddenly fall in love with the teacher who has only one egg in his otherwise empty refrigerator? (besides that he eats it with chocolate, because he probably has no money for bread!). Christophe Malavoy as David does not give us enough reasons, he seems more puzzled by what is happening to him than seductive. Who planned the theft and the murders? Was seduction part of the plan? Nothing makes much sense. There are also good parts in this film, but they can be found in cinematic details, such as the sets (decadent houses with obligatory gardens, good for burying the traces of crimes), the music and some remarkable acting performances. Nicole Garcia, in the period when she had not started her career as a director, looks great. Anémone and Richard Bohringer, actors I hadn't noticed before, create two excellent, vague and slightly mysterious, supporting roles. Anaïs Jeanneret, the young and beautiful actress who played the daughter in this film is amazing. Where did her career disappear? But all this is too little to save, at least from the perspective of 2022, this film.
Music teacher David is hired by the well-to-do couple Graham and Julia to give guitar lessons to their talented and beautiful daughter Vivianne, who looks amazingly as Nabokov's Lolita. Only a few minutes in the film David and Julia find themselves in bed, involved in a hot relationship. Not long after, they discover that they are being watched and even filmed on videotapes, perhaps by the curious neighbor Edwige, perhaps by the mysterious Daniel who appears as a savior at some point in David's life and confesses to him that he is a professional ... paid killer. Inevitably, at some point in the story, dead bodies will show up.
'Péril en la demeure' brings together two stories - one can be called romantic, the other a thriller. For this genre of films to succeed, the two narrative threads need to work together and amplify each other. The problem is that both stories lack credibility and their combination doesn't work or bind them together. I failed to understand either the romantic motivations of the characters or the logic of the detective action. Why does the rich woman suddenly fall in love with the teacher who has only one egg in his otherwise empty refrigerator? (besides that he eats it with chocolate, because he probably has no money for bread!). Christophe Malavoy as David does not give us enough reasons, he seems more puzzled by what is happening to him than seductive. Who planned the theft and the murders? Was seduction part of the plan? Nothing makes much sense. There are also good parts in this film, but they can be found in cinematic details, such as the sets (decadent houses with obligatory gardens, good for burying the traces of crimes), the music and some remarkable acting performances. Nicole Garcia, in the period when she had not started her career as a director, looks great. Anémone and Richard Bohringer, actors I hadn't noticed before, create two excellent, vague and slightly mysterious, supporting roles. Anaïs Jeanneret, the young and beautiful actress who played the daughter in this film is amazing. Where did her career disappear? But all this is too little to save, at least from the perspective of 2022, this film.
Erotic Thriller, French Style
SMK-313 August 1998
Péril en la demeure is a rather unusual little thriller, in which musician David Aurphet starts an affair with the mother of his pupil. Her husband finds out and David's life has some nightmarish turns. I have to admit that my description makes it sound rather conventional but it certainly is not.
It is debatable how well this film works as a thriller, but there is no doubt that the love scenes between Nicole Garcia and Christophe Malavoy are absolutely stunning. They ooze sensuality and are almost like a ballet, both people moving sensitively, slowly, and silently, suggesting, responding to the other, teasing and hesitating, touching and retreating. These few little scenes belong to the most erotic moments ever to be put on celluloid.
It is debatable how well this film works as a thriller, but there is no doubt that the love scenes between Nicole Garcia and Christophe Malavoy are absolutely stunning. They ooze sensuality and are almost like a ballet, both people moving sensitively, slowly, and silently, suggesting, responding to the other, teasing and hesitating, touching and retreating. These few little scenes belong to the most erotic moments ever to be put on celluloid.
Testament (of its time)
kosmasp3 October 2019
This worked way better in the 80s and has not aged that well. And I'm talking about the movie, so no pun inteneded. When it comes to story it's quite out there, mixing thriller and erotic elements to quite a "joyful bundle" (also a very disturbing and crazy one).
Now people in here may not really act or react exactly like one would imagine they do. The german dub would add negative points imho, so just keep that in the back of your mind in case you are thinking about watching it that way (unfortunately for many DVD releases in Germany while having the original audio included, do not have subtitles). Nudity and minor violence included - does that sound appealing?
Now people in here may not really act or react exactly like one would imagine they do. The german dub would add negative points imho, so just keep that in the back of your mind in case you are thinking about watching it that way (unfortunately for many DVD releases in Germany while having the original audio included, do not have subtitles). Nudity and minor violence included - does that sound appealing?
Sex, Lies and Videotape.
brogmiller31 May 2021
Despite its merits, Michel Deville's previous foray into the Mystery genre, 'Eaux profondes' of Patricia Highsmith, had not exactly proved an unqualified success and could be accounted a 'near miss'.
He has scored a palpable hit here however with this adaptation of 'Sur Terre comme au Ciel' by René Belletto which had won the Le Grand Prix for detective fiction.
Belletto's narrative style is not to everyone's taste but he has created a gallery of intriguing, shadowy and morally ambiguous characters.
When a book becomes a film and text becomes image, the casting can very often disappoint but here Deville has chosen well.
Nicole Garcia is the femme fatale who wastes no time in bedding Christophe Malavoy as the unsuspecting guitar teacher who has been been hired to tutor her daughter. Her husband is played by Michel Piccoli whose unpleasantness is concealed behind an apparent Bourgeois civility. Although a small role, where this brilliant actor is concerned, no part is small. The two most fascinating characters are Edwige and Daniel played by Anémone and Richard Bohringer. She is a much too inquisitive neighbour whose facial disfigurement in the novel has been changed for filmic purposes to a pronounced limp. Anémone looks as if she has stepped straight out of an Almodóvar movie and gives a wonderfully quirky performance. Bohringer is a hit man whose attraction to Christophe is subtly depicted as being homosexual in nature. Physically the actor is a far cry from the Daniel of Belletto's imagining but his hoarse delivery and underlying menace are utterly mesmerising.
Plenty of twists and turns here and a surprise ending. Well it certainly surprised me!
Raymonde Guyot deservedly picked up a Cesar for her superlative editing whilst the music of Granados, Villa-Lobos and the divine Schubert is used to great effect.
Deville himself was awarded the Cesar for his direction and although his entire output could never be described as 'mainstream' this stylish and sophisticated neo-noir is arguably his most accessible and accomplished work.
He has scored a palpable hit here however with this adaptation of 'Sur Terre comme au Ciel' by René Belletto which had won the Le Grand Prix for detective fiction.
Belletto's narrative style is not to everyone's taste but he has created a gallery of intriguing, shadowy and morally ambiguous characters.
When a book becomes a film and text becomes image, the casting can very often disappoint but here Deville has chosen well.
Nicole Garcia is the femme fatale who wastes no time in bedding Christophe Malavoy as the unsuspecting guitar teacher who has been been hired to tutor her daughter. Her husband is played by Michel Piccoli whose unpleasantness is concealed behind an apparent Bourgeois civility. Although a small role, where this brilliant actor is concerned, no part is small. The two most fascinating characters are Edwige and Daniel played by Anémone and Richard Bohringer. She is a much too inquisitive neighbour whose facial disfigurement in the novel has been changed for filmic purposes to a pronounced limp. Anémone looks as if she has stepped straight out of an Almodóvar movie and gives a wonderfully quirky performance. Bohringer is a hit man whose attraction to Christophe is subtly depicted as being homosexual in nature. Physically the actor is a far cry from the Daniel of Belletto's imagining but his hoarse delivery and underlying menace are utterly mesmerising.
Plenty of twists and turns here and a surprise ending. Well it certainly surprised me!
Raymonde Guyot deservedly picked up a Cesar for her superlative editing whilst the music of Granados, Villa-Lobos and the divine Schubert is used to great effect.
Deville himself was awarded the Cesar for his direction and although his entire output could never be described as 'mainstream' this stylish and sophisticated neo-noir is arguably his most accessible and accomplished work.
It makes no sense. It relies on coincidences and irrational behaviours
claudg19507 November 2021
Warning: Spoilers
Five points for style, as some viewer pointed out. But it is all style, no content. SPOILERS SPOILERS. Of all teachers, a jealous husband hires a young handsome teacher for his pretty adolescent daughter. He forgets a tuner on his first visit, as if music teachers were carrying those around. Sultry wife seduces him in no time. A neighbour (who pretends to be disabled (??)) videotapes those sexual encounters for no reason. The hero is saved from an attack by (of anybody) a hitman, no more no less, as if hitmen were dime for a dozen. In the end the hitman's behaviour becomes absurd. The hitman's target turns out to be the jealous husband. The hero is given a pistol just at the right moment, and he is prompted to take a globe who happens to be what the hitman is after. After the husband is dead police does nothing; no police in the story. This is a mess of a film, with one of the most absurd plots ever. All loose ends I listed are just that: loose ends.
8/10. Recommended
athanasiosze7 March 2024
This is a great movie. I found it due to a long list of an IMDB user named "Mister_Wolf". (5.395 movies!).I don't believe he is gonna read this ever, but i am grateful for his lists, i have found so many hidden gems there.
Now, regardless of this : This is a strange movie, unique and original. You can call it a drama/mystery movie or a drama/romance movie. Personally, i think it's something like a neo-noir film which works more like a deconstruction of this genre. It doesn't take itself too seriously but simultaneously, it's not a parody. Just plays by its own rules. There are erotic scenes here, intense scenes, "what the hell" moments and it's not just enjoyable but even exciting. At some point, i was totally hooked and i was very curious to see what's gonna happen. It's "Art" but not "Artsy". And i empathized a lot with the leading character.
Another movie with "personality" and "identity" not like the tasteless trash that are being served to the moviegoers nowadays.
Now, regardless of this : This is a strange movie, unique and original. You can call it a drama/mystery movie or a drama/romance movie. Personally, i think it's something like a neo-noir film which works more like a deconstruction of this genre. It doesn't take itself too seriously but simultaneously, it's not a parody. Just plays by its own rules. There are erotic scenes here, intense scenes, "what the hell" moments and it's not just enjoyable but even exciting. At some point, i was totally hooked and i was very curious to see what's gonna happen. It's "Art" but not "Artsy". And i empathized a lot with the leading character.
Another movie with "personality" and "identity" not like the tasteless trash that are being served to the moviegoers nowadays.
Threatening Erotics that seem to be waiting to explode in violence.
Vmax15 March 1999
Although the film has some very beautiful & erotically tense scenes, the little & few dialogues, combined with moody glares, make even some of the completely silent scenes very threatening. It's a little like listening to the rumbling of a live volcano, not being able to run and wondering if, and when it will erupt.
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