#masques

Masques shares the style (and the one-word title) of those 1960s romantic thrillers like Charade (Stanley Donen, (1963),  Arabesque  (Donen, 1966), and Kaleidoscope (Jack Smight, 1966) that inevitably got called “Hitchcockian.” So it’s not surprising that Chabrol, who recognized Hitchcock’s genius when Hollywood still thought of him as just a popular entertainer, should cast an hommage to the director in their manner. Roland Wolf (Robin Renucci) is writing a biography of Christian Legagneur (Philippe Noiret), who hosts a cheesy TV talent/game show featuring senior citizens, so he comes to spend a week at Legagneur’s estate near Paris. There he’s introduced to a houseful of eccentrics: Legagneur’s mute chauffeur/cook, Max (Pierre-François Dumeniaud); his secretary, Colette (Monique Chaumette); and a couple, Manu (Roger Dumas), a wine connoisseur who is helping stock Legagneur’s cellar, and his wife (or perhaps mistress), who is a masseuse and reads tarot cards (Bernadette Lafont). (Lafont gets third billing after Noiret and Renucci, though hers is decided a secondary role, perhaps because she appeared in Chabrol’s first film, Le Beau Serge, in 1958, and worked with him again several times during their long careers.) But most intriguing of all to Wolf is Legagneur’s pretty young goddaughter, Catherine (Anne Brochet), who Wolf is told is recovering from a serious illness and is quite fragile. It’s clear to the audience from Catherine’s erratic behavior that she’s drugged – whether as part of her therapy or not is the question raised in Wolf’s mind. For no one in this household is exactly what they seem, least of all Wolf, who, when he’s alone in his room, removes a gun from his shaving kit and hides it on a shelf. On the shelf he finds a lipstick and with it, murmuring “Madeleine,” he writes a large “M” on a mirror, then rubs it out. Madeleine, we will learn, is Wolf’s sister, who is said to have quarreled with Catherine and then left on a trip to the Seychelles, which Wolf seriously doubts. Madeleine is also, of course, the name of the character played by Kim Novak in Hitchcock's Vertigo (1958), one of several “Easter eggs” for Hitchcockians left by Chabrol in the film. Legagneur’s TV show, for another example, uses as theme music Gounod’s “Funeral March for a Marionette,” which was the theme music for Hitchcock’s own TV show. Masques failed to find an American distributor when it was first released, and it’s definitely minor Chabrol, but Noiret is terrific as the affably sinister Legagneur.

Clément Dugast (nocto)

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