A drunken, self-destructive woman called Betty wanders into a Parisian bar where she meets middle-aged alcoholic Laure. Laure decides to take care of Betty. Recovering in a hotel room, Betty begins to recount to Laure the story of her bourgeois life and her unhappy and unfaithful marriage.
Marie Trintignant Stéphane Audran Jean-François Garreaud Yves Lambrecht Christiane Minazzoli Pierre Vernier Nathalie Kousnetzoff Thomas Chabrol Pierre Martot Yves Verhoeven Henri Attal Brigitte Chamarande Raoul Curet Julie Marboeuf Jean-Marc Roulot Antoine Blanquefort Gilbert Melki Mélanie Blatt Pierre-François Dumeniaud Coco Bakonyi Emmanuelle Bataille Geoffroy Boutan Jacques Brunet Patrick Burgel Colette Charbonneau Maxime Creoff Nicolas Creoff Catherine Deville Bernard Dumaine Show All…
Бети, Бетти, 贝蒂
FranceU
USA
France
France
France
France
USA
Betty. 1992. Directed by Claude Chabrol.
Claude Chbrol (La cérémonie & Nightcap among many other great films) adapted Betty (1992) from the eponymous novel by Geoerges Simenon. Betty (Marie Trintignant) is found drunk and taken to Laure de Vaucher’s (Stéphane Audran) apartment where she is allowed to regain sobriety and tell her story. Chabrol is a master story teller. His non-linear screenplay utilizes flashbacks that give us insight into Betty’s dire situation despite the fact that she is wearing a Chanel suit.
Betty had a family that consisted of the French bourgeois dream. However, we are shown that Betty was raped and had nymphomaniacal tendencies. Despite the PTSD and large number of men she copulated with, she managed to find a…
The now mostly forgotten Betty was one of Chabrol's many "back to form" efforts, its good reception certainly help setup stage for The Ceremony a few years later. It is easy to see why, it has thriller effects, but it is more of an arthouse feature, it is adapted from Simenon and its observation of the two women in flux does suggests some of his earlier classics. It is careful observed and while it does have a good amount of Chabrol's cruel streak in how inevitable the plot mechanic play, it does have more warmth than expected. Great decayed atmosphere, and it just close in some much small bits that feel just right for those characters and their world. Betty was also something of a key end as it turn out to be Chabrol's last movie with Stephane Audran and a very good showcase for her and Marie Trintignant who sadly didn’t got this many quite well round parts.
5 Directors x 5 Unseen Films - Round IX: Film #25
I expect this much J&B product placement in a gritty Italian cop movie, but not in a classy French melodrama.
“I wanted to have a wound, too. I’ve always been chasing that wound.” A gorgeously downbeat opening hook-up sets the stage for Chabrol’s sad portrait of terminal lovelessness; Betty furiously chain-smoking and drinking herself to oblivion as she picks up a junkie doctor, the duo taking their stumbling, numbing pas de deux out to the woods of Versailles for another round to nowhere in Le Trou, a dimly lit dive for lost souls and open wounds and thirsty hearts. “Mario says his clients are all twisted!” The deeper Chabrol dives into Betty’s backstory, in a series of monologues delivered from a plush bed in La Trianon, the more she emerges not so much as a femme fatale but as a…
Another day another Chabrol film. This time Betty. I am still thinking about this film and it has been days since I saw it. Marie Trintignant plays Betty (Elizabeth), she was mesmerizing, heartbreaking and absolutely stunning. I could not take my eyes off her performance.
The film revolves around Betty, shes married to an upper class man whom she had two kids from and she is also an alcoholic. She was never really been able to care for her kids because her husband hired a housemaid right after she gave birth, literally her children were taken from her arms. Betty will soon sign her children away to her husband during their divorce for money... although you may feel sorry for…
Films seldom get this good. I had not seen this movie since 1993. It has remained in my memory and has aged beautifully.
Claude Chabrol was not interested in serving up a plot when it came to "Betty." Instead he is focused on presenting a portrait of a damaged young woman in a unique way. Utilizing two outstanding actors, cinematography, film and sound editing -- he manages to pull us into film of hypnotic and suspenseful charm.
This film, like its protagonist, is a whole lot more than can be expected or anticipated. There is a constant sense of dread and unease that lures us into a surprisingly complex study of human psychology. As the camera pulls our attention away…
I was really impressed by Claude Chabrol's Betty. It wasn't quite what I was expecting. I thought it was going to be a thriller, but it is more of a erotic drama, with an unsettling, almost chilling, ending. A great ending. An ending that sells the film perfectly, one that made me reconsider everything and want to watch it again.
Initially the film starts rather like a Jean Rhys novel. A dissolute female alcoholic drifting from pub to pub, racking up drinks and male attention. She seems like a lost soul, psychologically bereft. She meets Stephane Audran, who could be enabler or saviour and it isn't clear what she wants or wants.
The film slowly morphs through this, through both…
Em honra de Stéphane Audran (1932 - 2018).
Mais uma experiência psicanalítica de Chabrol, nos faz lamentar ainda mais a morte prematura de Marie Trintignant, vítima de um macho escroto até então seu namorado, que a agrediu causando-lhe danos mortais.
DVD Versátil A Arte de Claude Chabrol.
A borderline fascinating character study that peels away the layers of a very broken individual and while its structure and performances hook you into learning more about the titular character, frustrates to high hell that ultimately, its all a little tedious.
Betty (a brilliant Marie Trintignant) is a mess. Drunk as a skunk, she's picked up in a bar and taken to another strange rural bar in Versailles. As her suitor is revealed to be even more problematic than she is, she passes out and awakens the next day in an expensive hotel room, adjoining to mysterious older woman Laure (equally superb Stephane Audran). And so begins a strange friendship, both women revealing more about themselves to the other, while…
