A root conceit of the plot rides a fine line between being unbelievable and contrived and a pleasant coincidence, a delightful little nothing. I don't think the film at large could get very far on the latter alone, but regardless the slant is confirmed before long as plot development, scene writing, and dialogue rather echoes the former feelings, too. Some instances of overexcited cinematography lend to the sense of a melodrama, not unlike a soap opera; the sparing employment of music on the soundtrack, save for what our characters play on the piano, likewise contributes. None of this is an inherent mark against 'Merci pour le chocolat,' and perhaps others will think differently. On the other hand, it continues to comes across firstly in Claude Chabrol's direction, and secondly in the adapted screenplay he penned with Caroline Eliachieff, that on a fundamental level - in the unnatural way characters talk, think, and behave, and in how shots and scenes are written and/or orchestrated, even down to choices of lighting - that the story as it presents is a little overcooked and rather less than credible, fighting with our suspension of disbelief all along the way. Some movies embrace and thrive on verisimilitude and being as realistic as possible; suffice to say that this isn't one of them. One can either accept that a work of fiction, intended to entertain, crosses these lines of plausibility, or one can't. Take that as you will.
Despite such curiosities, this is still well made and enjoyable just as it is. Whether one considers the oddities drawbacks or lures, the narrative certainly keeps one watching to find out where exactly it's all going to end up. While in some cases raising a quizzical eyebrow, elsewhere cinematographer Renato Berta and editor Monique Fardoulis both demonstrate a keen eye with their work. I appreciate the costume design, hair, and makeup, not to mention the production design. Presumably on account of the sometimes questionable direction more than the actors themselves, the acting is variable in its strength. More than is suitable for the characters as written, Jacques Dutronc seems to have a hard time finding the right tone for any given scene; Rodolphe Pauly feels a tad lost and ill-fitting. On the other hand, Isabelle Huppert brings her characteristic intensity to her portrayal of cold, calculating Mika, here perhaps more subtle and underhanded than elsewhere; even though the role of Jeanne is somewhat ill-defined, Anna Mouglalis nevertheless picks up the slack by playing her with a poise and wholehearted depth of emotion that makes me want to find more of her work.
Across the board the result is most definitely a mixed bag. In every aspect is reflected a range of quality from earnest, engaging, and excellent to inauthentic, iffy, and sometimes almost ripping us from the viewing experience. Still, overall 'Merci pour le chocolat' is better than not, and in one fashion or another it keeps our attention. With all this being said I hardly think this is a must-see; no doubt some will get much more out of it than others. Provided one is willing and able to abide the more troubled facets of the production, however, I think this remains worth checking out if one has the chance. Don't go out of your way for it, but both on its own merits and as a slightly weird outlier, this is a decent drama.
Despite such curiosities, this is still well made and enjoyable just as it is. Whether one considers the oddities drawbacks or lures, the narrative certainly keeps one watching to find out where exactly it's all going to end up. While in some cases raising a quizzical eyebrow, elsewhere cinematographer Renato Berta and editor Monique Fardoulis both demonstrate a keen eye with their work. I appreciate the costume design, hair, and makeup, not to mention the production design. Presumably on account of the sometimes questionable direction more than the actors themselves, the acting is variable in its strength. More than is suitable for the characters as written, Jacques Dutronc seems to have a hard time finding the right tone for any given scene; Rodolphe Pauly feels a tad lost and ill-fitting. On the other hand, Isabelle Huppert brings her characteristic intensity to her portrayal of cold, calculating Mika, here perhaps more subtle and underhanded than elsewhere; even though the role of Jeanne is somewhat ill-defined, Anna Mouglalis nevertheless picks up the slack by playing her with a poise and wholehearted depth of emotion that makes me want to find more of her work.
Across the board the result is most definitely a mixed bag. In every aspect is reflected a range of quality from earnest, engaging, and excellent to inauthentic, iffy, and sometimes almost ripping us from the viewing experience. Still, overall 'Merci pour le chocolat' is better than not, and in one fashion or another it keeps our attention. With all this being said I hardly think this is a must-see; no doubt some will get much more out of it than others. Provided one is willing and able to abide the more troubled facets of the production, however, I think this remains worth checking out if one has the chance. Don't go out of your way for it, but both on its own merits and as a slightly weird outlier, this is a decent drama.