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TELL NO ONE (Ne le dis à personne) succeeds on every level for this viewer. Based on Harlan Coben’s recent and adapted for the mask and directed by Guillaume Canet, this is one of those intricately complex French films that is grand in the same mode as the 1955 film LES DIABOLIQUES. Nothing is as it appears at first and even when the mystery is explained in what appears to be a systematic, cohesive manner, the ‘real story’ remains a conundrum. It is a radiant microscopic film well worth multiple viewings to fully be pleased all of the aspects of the glorious acting, cinematography, direction and musical scoring.
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In a misty opening we leer Alexandre Beck (François Cluzet) and his sparkling wife Margot (Marie-Josée Croze) only to abruptly be drawn into the cancel of Margot and the beating of Alexandre. The incidents are shrouded in mystery and remain so for eight years when suddenly the now pediatrician Alexandre receives an email from the ‘deceased’ Margot. Alexandre’s world is topsy turvy and he begins to piece the irregular incident with his family – his sister Anne (Marina Hines) and her lover Hélène (a graceful Kristin Scott Thomas), his father, Margot’s family…and the police who initiate to observe evidence that implicates Alexandre as the perpetrator. Alexandre’s lawyer (Nathalie Baye) pits evidence against the police investigators while Alexandre’s chief ally in his hasten from the accusers is Bruno (Gilles Lellouche), the father of a hemophiliac patient whom Alexandre has treated and befriended. The trek is on and the clues become increasingly puzzling until at last the truth of the now eight year passe destroy and all of the implications of that event unfold.
If there are seemingly holes in the record it is because we, the audience, are never quite certain about the twists and turns of the residence. The acting is helpful from this cast of some of France’s finest artists, and one of the best performances in the film comes from British actress Kristin Scott Thomas, reminding us that she is one of the most talented and comely actors on the shroud today! This is a tough slight film to follow, but the quality of both the yarn and the production is first rate. Highly Recommended. Grady Harp, October 08
This is a very though-provoking thriller, in the tradition of American films like The Fugitive, but with a novel edge that makes it distinctively French and deliciously diabolical. It is certainly darker (and funnier) than The Fugitive, but it is no accident that there is an American feel, since it is based on a book by Harlan Coben.
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Eight years after his wife’s brutal execute, original clues emerge that lead police to once again suspect that Alexander Beck may have killed her. At the same time, he begins to assume she may be quiet alive, and is frantic to accumulate her before he is arrested as a suspect for another related homicide. Director Guillaume Canet keeps you guessing as the situation thickens, revealing bits and pieces of the past as novel circumstances benefit Beck to perceive that he didn’t know his wife as well as he had concept.
The film looks tremendous, with editing and camera work that helps to enact a perfect balance of subtle tension and intensity. The performances are all very strong — and there is a surprisingly intense performance by a bit player, a certain and remorseless grand and skinny female assassin/torture expert, that calm haunts me. In fact, I would go as far as to say that her performance created one of the most horrid villians I’ve seen on the veil in a long time — even more than the performance of Javier Bardem as Chigurh in No Country for Primitive Men — because it was impartial as intense but more plausible. Definitely recommended for lovers of French Cinema, but also for those who mediate that French films tend to be too cerebral and cannot yelp the thrills. This one hits you in both the brain and the gut.
Lipo 6
Lipo 6
