User Reviews

This film by Claude Chabrol reminds me of the old story of the country mouse and the city mouse. The country mouse is excited to see the big city but his bumbling provincial ways are out of step with his more sophisticated city cousin. This seems to be pretty much the basis for this film, "Les Cousins"! Though of course, being a Chabrol film it will have some dark edges and twists!

Charles is the guy raised in the country. He's slow and lacks confidence with women. Paul, on the other hand, was raised in the city and women hang all over him and put out like crazy for him. When Charles comes to stay with him while he goes to college, he is quite the contrast to Paul who is a confident ladies' man. He's also more bookish and introspective than Paul. All Paul wants is to have a good time and have sex--and he couldn't care less about his studies at the college. And, in a way, Paul has contempt for his cousin when Charles falls head over heels for Florence--and he soon beds Florence and asks her to move in with him. As for Charles, he is sad but sinks his energy into his classwork and tries to do the right thing. What's next for this odd mismatched pair? Bet you won't be able to guess!

This film is considered by many to be one of the best and earliest New Wave films. Like many New Wave movies, the normal film formulas are turned on their head and goodness isn't necessarily rewarded and the ending is quite ambiguous. Well worth seeing and darkly enjoyable.

Although it's Chabrol's second effort (the first one being "le beau serge" featuring the same actors),this one is closer to Chabrol-as -we -know-him.The detective ending and the first steps in the bourgeois world of Brialy character herald Chabrol 's heyday (which begins with "les biches" ,encompasses such works as "la femme infidèle","que la bête meure" "le boucher" "la rupture" "juste avant la nuit " and ends with" les noces rouges";that's not to say all the movies were great during that period :"doctor Popaul" and "la decade prodigieuse" can be forgotten";that does not mean there were no great works after "wedding in blood" (les noces)either as testify such memorable works as "Violette NOzières","Une affaire de femmes" or "l'enfer".But in France the 1967-1973 era is generally regarded as Chabrol's peak ,with "le boucher" ,his towering achievement. So we enter the bourgeois world with Brialy's character,a bon vivant as we say in France,with parents (whom we never see)who provide him money and a comfortable flat .He is a student,but we never see him studying,girls and pleasures taking the best of him. In direct contrast with him,enters Blain,his provincial cousin.He comes from a much more modest background,his parents (whom we never see either)had certainly to struggle hard to send him to the Latin Quarter. So from the beginning ,the incommunicability is total.Blain is a grind,and if sometimes he accepts to follow his life-lover cousin in not-so-intellectual places in Paris,he knows he shall not disappoint his old parents.Brialy's kind of life is bewildering for a young lad like Blain:a scene is particularly strange,baroque,and even threatening: some fascination for Nazism from Brialy and his clique during a strange party(it's 1959,and German occupation is not that much far behind after all). Chabrol has ready begun his bourgeoisie wholesale massacre:Brialy is the prototype of the bourgeois student,selfish and smug,self-confident and apolitical (And however,1959,it's Algerian war!Young French are sent to do the dirty job).Apolitical,such is also Blain's case,but with more excuses :after all,when you're poor .. In his autobiography "le ruisseau des singes" ,Brialy told that Chabrol(and the producer) had planned an happy end with the two cousins running across the fields,reconciled.Both endings were filmed,and finally the two actors urged Chabrol to renounce this silly conclusion. Hence an almost Hitchcockian ending,Hitchcock whose influence will grow over the years in Chabrol's work.

Les Cousins is definitively part of the French New Wave of the late 1950s. Whilst slightly more polished than the films of his contemporaries (notably Godard and Truffaut), Chabrol's film bubbles with an insurgence of new cinematographic techniques and fresh acting talent. The sense of newness is reinforced by presence of so many young actors, dressed elegantly in tuxedos and evening dresses, but acting somewhat delinquently for the most part. The film appears almost like the christening party for the birth of a new era in French cinema.

Both the direction and photography are of a high calibre and capture very well the changing mood of the central character, Charles. The film starts cheerfully and optimistically with the young man's arrival in Paris. Like him, we are enchanted by the bright lights, the wide boulevards and the historic monuments. But then, little by little, the mood changes to ennui and disappointment when the shallowness of the Paris jet set is revealed. Finally, a much darker mood prevails as Charles' best efforts to succeed are brutally crushed by a combination of circumstances, partly of his own making but largely as a result of the hand of fate. This ability to alter the mood of the film so subtly and effectively is one of Chabrol's great skills as a director and is used to far greater effect in some of his subsequent thrillers.

Both of the two central characters, Charles and Paul, are played admirably by Gérard Blain and Jean-Claude Brialy. Blain manages to capture the innocence of the outsider and offers a sympathetic and memorable performance. Brialy seems to revel in his role as the extravagant city student, hosting his parties with the gusto of a true bon-vivant, whilst exhibiting a more complicated and sensitive persona in his conversations with the characters Charles and Florence.

Both actors were used by Chabrol in an earlier film, Le Beau Serge, which, in some ways, is the mirror image of Les Cousins. In Le Beau Serge, Brialy played a city boy who returns to his home in a provincial town where he met up wih a childhood friend played by Blain. Brialy's character was the outsider and ultimately he was destroyed by his alien surroundings. In Les Cousins, the situation is cleverly reversed. Here, Blain's character is a country boy who joins Brialy in the city of Paris. It is Blain's character who is now the outsider, and who is finally destroyed by his unfamiliar environment. It is interesting to watch the two films back-to-back, to note the similarities and compare the differences. Both films seem to side with the outsider and condemn the society that rejects him, although it is perhaps disappointing that, in both cases, that the outsider is destroyed without having any significant impact on the society that crushed him. At least, in Le Beau Serge, the victim's fate was sealed by an altruistic desire to do some good for the community that rejected him, whereas in Les Cousins, the victim brought his destruction on himself by trying to attack the society he felt so repulsive.

Les Cousins lacks the emotional intensity of Le Beau Serge and appears in some places a little too stage-managed. (The ending is particularly stagy, but it works perfectly to the film's advantage.) On the plus side, Les Cousins benefits from a far superior musical score, a more interesting set of characters, and some impressive location filming in Paris. It is an engaging and accessible film which still appears fresh and vibrant.

Chabrol before he truly became Chabrol. This might seem to be one of his more 'realistic' films, with its obligatory nouvelle vague scene of Parisian freewheeling, but one of 'Les Cousins'' main themes is the disparity between reality and fantasy, and the fate of those who cannot tell between them. Just as paul turns his personality into a series of roles, his life into ritualistic tableaux, so Chabrol suffuses his realistic narrative with references to myth, fable, fairy tale, opera, and, especially, film.

'Les Cousins' plays like a counterpart to Melville's 'Les Enfants Terribles', with the same theatricality, claustrophobia, incestuousness, and mythological base; the same cinematographer, even one of Melville's actors! most interesting is the development of Chabrol's style, the lockjaw camerawork, the complex use of point of view, the puncturing of solemnity with incongruous humour (see especially the hilarious 'fish' scene).

Chabrol's second film, made months after his first Le Beau Serge, and a more mature film director is evident. Helped, no doubt by those he gathered around him notably on script and camera, while the first film had charm and passion, this has that and more. Not only is this an interesting and intriguing tale of student life and affairs late 50s, the way it is shot opens up a whole new world of cinema. At least for the next five years this new Wave would dominate French cinema and also influence most of the world's cinema. With a fluid camera movement, jump cuts and an emphasis on 'real' people, having fun, being serious about politics, smoking all the time and having sex, cinema would, as they say never be the same again. Les Cousins is all of the above and entertains and amuses. Chabrol has complete control of the music this time, which works very well - even if it includes youngsters dancing around to Wagner! Important and enjoyable - can't say fair than that.

The 13th film I saw of Claude Chabrol. The least I liked. I understand the meaning and the message of the film, but practically nothing captivated me: Neither the characters (nor Charles's own character captivated me) nor the rhythm of the film (a very long sequence in which we get to know Paul's friends, who swim and the way the "bourgeoisie" is presented to us, there are immense films that "capture" this social class in a much more skilful and humorous way, nor the message of the film, which I find to be inadequate and unlikely in the form how it is performed. I liked Chabrol's film the previous year, his first one, "le beau serge", curiously with the same double protagonist. I can not give this "les cousins" more than 6/10.

This is more akin to the recognizable style of the "Nouvelle Vague" (with one of the characteristics being an unduly harsh quality to the cinematography, typically a prerogative of the film noir genre) than Chabrol's previous (and first) film, HANDSOME SERGE (1958).

Interestingly, while it features the same two leads – Gerard Blain and Jean-Claude Brialy – their roles are practically reversed (with the former now ingenuous and the latter world-weary), and set this time around in Paris rather than the provinces. Incidentally, the film forms a trilogy of sorts with Chabrol's other tales of amoral youth, all stemming from the vitriolic pen of the ill-fated Paul Gegauff i.e. LES BONNES FEMMES (1960) and WISE GUYS (1961).

Unfortunately, I did not watch this in the most congenial atmosphere – being a recording off French TV with subtitles in that language (it is odd that such an essential piece in both the director's canon and the influential "New Wave" filmography seems to be otherwise unavailable!). Anyway, having sensed a nod to Fellini in Chabrol's THE CHAMPAGNE MURDERS (1967), I can see definite links with this earlier effort (especially Brialy interrupting a wild party at his flat with a candle-lit recital of an epic German poem) – and which actually predates a similar occurrence in LA DOLCE VITA (1960) itself!

The film is also notable for being Stephane Audran's first collaboration (out of a total of 23!) with Chabrol; though her role is secondary, and a sluttish one at that, the actress – with hair dyed blonde – manages to make an impression nevertheless (she obviously did on her director, since they would eventually be married until 1980). Actually, the leading lady here is doe-eyed Juliette Mayniel (soon to play an unwilling donor in Georges Franju's EYES WITHOUT A FACE [1960] – ironically, one of several distinguished native directors dismissed as archaic by Godard et al), not an actress usually attached to the "New Wave" movement but who acquits herself exceedingly well under the circumstances.

Other characters within the narrative include yet another ambiguous and, in this case, much older live-in figure (who also acts as a bad influence on the heroine) and a librarian harboring almost paternal feelings for Blain. The film's abrupt tragic ending, casually treated by the director and deemed pointless by some, would seem to be suggesting that the bustle of city life spells the death of innocence (especially for someone not attuned to its grinding pace).

P.S. With this, I concluded my nearly two-month tribute to the octogenarian French master that included 27 films (all of them being first viewings!) and I regret not having had more time to revisit some of his other work – particularly A' DOUBLE TOUR (1959), LES BONNES FEMMES, TEN DAYS WONDER (1971) and INNOCENTS WITH DIRTY HANDS (1975)! For the record, I intend to pursue a similar retrospective for Jean-Luc Godard, who will himself turn 80 next December

Chabrol's second feature. I haven't seen his first, Le beau Serge, but this is the most French New Wave film I've seen from Chabrol. As such, it's by far my favorite. I like several of his films, but I do find even my favorites a little dry. This one is just gorgeous and it's quite a lot of fun throughout. Gerard Blain plays a provincial who is moving to Paris to go to college. He moves in with his cousin (Jean-Claude Brialy), who is himself a student. Brialy is a total party animal, spending all his free time drinking with friends and none of it studying. The two get along at first, but then a woman (Juliette Mayniel) comes between them. The film is kind of a precursor to Jules et Jim.

Why is this moving and provoking movie never seen? It never seems to get any notice or mention when discussing or reviewing New Wave films. Better than the "400 Blows" and most of the rest of the genre. Could the score have something to do with this. Does Wagner have such an effect on viewers?

Charles is a young provincial coming up to Paris to study law. He shares his cousin Paul's flat. Paul is a kind of decadent boy, a disillusioned pleasure-seeker, always dragging along with other idles, while Charles is a plodding, naive and honest man. He fell in love with Florence, one of Paul's acquaintances. But how will Paul react to that attempt to build a real love relationship?

Of the so-called French New Wave directors, Claude Chabrol has been called possibly the most mainstream (though less celebrated than Truffaut or Godard). We could also say he has a remarkable amount of stamina. "Les Cousins" was at the beginning of his career, and for decades he kept making great movies, including the notable "Madame Bovary" in 1991... and still kept going.

I love this film's blend of decadence and death. A simple man, with studies on his mind, is exposed to some bizarre scenes of sensuality, violence, crime, and even Nazi elements (in 1950s France?). This is what it is like if you take two opposing elements and allow them to spin out of control.

(1959) Les Cousins/ The Cousins (In French with English subtitles) PSYCHOLOGICAL DRAMA

Written and directed by Claude Chabrol with young conservative and reserve, Charles (Gérard Blain) moving to Paris to study law by staying with his total opposite counterpart, bohemian cousin, Paul (Jean-Claude Brialy) since he never seems to study for anything, who prefers to pay for his grades instead, topping it off, having frequent parties each and every night. Part of the "New French Wave" that existed during the late 50's and 60's which much of the viewing experience, particularly the end, is like this movie is the less equivalent version of Jean Renoir's 1939 controversial masterpiece "Rules Of The Game".