“ | As I watched Bertrand Blier's Beau Pere, I was strongly reminded of the controversy surrounding the release of Adrian Lyne's 1997 adaptation of Vladimir Nabokov's landmark novel, Lolita. Because it deals with one of society's strongest taboos - pedophilia - in a straightforward manner, the film was blackballed by American distributors. Only after sitting on the shelf for more than a year did the picture receive limited theatrical release in this country. After viewing the movie, which features nothing exploitative or graphic, I was frankly dismayed at the forces aligned against it. To be sure, this Lolita is not without flaws, but its content does not warrant such extreme treatment.
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In Europe, Lolita's reception was far different. The film was widely shown, and with minimal contention. An obvious inference can be drawn from the contrast between the reaction to the movie here and there. While pedophilia is rightly condemned on both sides of the Atlantic, the puritanical foundation of American society creates so much discomfort about the subject of sex that a movie which intelligently confronts such difficult issues is immediately subject to censure. It's depressing to consider how few people in this country can distinguish between art and exploitation. In a sensitive arena like this, the latter is grotesque and unacceptable, while the former is desirable because of the greater understanding and insight that it hopes to promote. Lolita does not seek to titillate; it tries (and mostly succeeds) to present a study of an unhealthy obsession and its pernicious effects on all involved. To classify it as "pornography" or "smut" is to display a shocking degree of ignorance about the material and its presentation.
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And that brings me to Beau Pere, the 1981 French film that tackles the same subject matter as Lolita, albeit in a less melodramatic manner. There is no question that this movie could never be made in the United States. It offers a frank and unflinching portrayal of the sexual relationship between a 30-year old man and his 14-year old stepdaughter. So, not only is pedophilia an issue, but the picture also raises disturbing questions about incest. Yet, while Blier is clearly not an advocate of the main character's sexual proclivities, he nevertheless portrays this man sympathetically. He is not a one-dimensional villain, a lecherous scoundrel who lurks in the shadows. Instead, he's a rather pathetic individual who, were it not for his obsession, would easily earn the viewer's pity.
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Beau Pere begins by introducing us to Remy (Patrick Dewaere), a sadsack restaurant piano player whose marriage is falling apart. For the last eight years, Remy has been married to Martine (Nicole Garcia) and has cared for her daughter, Marion (Ariel Besse), as if she was his own. But Martine is fed up with his lack of earning power and ambition and is ready to leave him. Then, as she's going to work following an argument, she is killed in an automobile accident. Remy is left to care for Marion alone. His initial reaction is that the girl should live with her alcoholic father, Charly (Maurice Ronet), but she resists the idea. And, although Charly pays lip service to wanting his daughter with him, he eventually allows her to remain with Remy.
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It soon becomes apparent, however, that Marion's reasons for wanting to stay with Remy have little to do with the affection of a daughter for her father. He has become the object of her sexual fantasies, and she makes it apparent that her feelings go far beyond what is proper. Equally attracted to her but unwilling to admit it, Remy puts up token resistance, but his attempts to ward off Marion are halfhearted at best. (After all, if he really wanted to put a stop to the situation, he could demand that she live with Charly.) Eventually, he gives in and a sexual relationship is consummated.
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In the end, Blier does not give us an overwrought conclusion featuring histrionics, threats, recriminations, and police action. In fact, the resolution is handled with chilling civility, and the last scene - which strongly hints that history may repeat itself - is Beau Pere's most disturbing moment. It's clear that both Remy and Marion have been damaged by their sexual encounters, although neither seems willing or able to recognize that any aspect of their personality has been distorted. Marion's social development has been retarded; it is clear that she holds boys her own age in the lowest regard. Meanwhile, by crossing a dangerous line, Remy has taken the first steps down a slope that may lead him to become the stereotypical predator of young girls.
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One often-neglected aspect of this kind of relationship that Blier focuses on is how the introduction of sex destroys the natural boundaries between father and daughter. Remy loses his place as an authority figure, and, when he tries to assert himself, he is shown to be impotent (even in something as seemingly innocuous as requesting that Marion return home by midnight). Indeed, as the film progresses, it becomes increasingly apparent that Marion has all the power in the relationship. Both emotionally and practically, she pulls the strings. At one point, after being caught in a compromising position with Marion, Remy admits to being scared. It's a natural reaction; one visit from Marion to the police and he would find himself in jail.
Marion is consistently shown to be the more mature of the two. In addition to initiating the changes in their relationship, she's the breadwinner and shows a keen intellect. Her outlook on life is surprisingly sophisticated for a girl of her age. Remy, on the other hand, is a loser with little self-respect and less self-control. He can't keep a job and relies on Marion's earnings from babysitting to pay the rent. When it comes to the seduction, her methods are awkward and inexperienced (as might be expected from someone her age); the only reason she succeeds is because Remy is willing.
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Slightly less interesting, but no less important to the overall plot, is Marion's relationship with Charly. They are obviously not close, but he cares about her. Nevertheless, his every decision is clouded by guilt. He puts on blinders and chooses not to see what is obvious. The best illustration of this comes late in the film, when he observes a passionate embrace between Remy and Marion. He musters the courage to ask whether they're sleeping with each other, but, when Remy feigns outrage and denies the accusation, Charly skulks away apologetically. He lacks the will to intervene, and thus loses his claim to moral superiority.
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Beau Pere's success results from a combination of a provocative script featuring well-defined characters and a pair of powerful performances. In particular, Ariel Besse is stunning. Her portrayal of Marion is unfeigned; she effectively mixes the innocent girl and the tempting, seductive woman - the perfect Lolita. In fact, she's so good that at times it can be unsettling to watch her aggressive sexual behavior. When this film was released in 1981, Besse received a number of enthusiastic plaudits from critics, all of which were deserved. (Interestingly, this is her only acting credit. Beau Pere was her debut, and she never appeared in another picture.) Working opposite her, Patrick Dewaere has the difficult task of not being upstaged by his young co-star. For the most part, he avoids that pitfall. His Remy is a sad, psychologically tortured individual with virtually no confidence. Dewaere's performance also hints at a monster lurking deep beneath the mild-mannered exterior. Beau Pere was the actor's penultimate screen appearance. After having appeared in nearly 30 films (including two of Blier's previous efforts, Getting It Up and Get Out Your Handkerchiefs), he killed himself in 1982.
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Beau Pere is obviously not for everyone. For a variety of legitimate reasons, many intelligent, discriminating movie lovers would prefer not to watch a film about pedophilia, no matter how well-made or careful its approach is. However, for those who are not offended or otherwise put off by this subject matter, Beau Pere offers a compelling psychological exploration that is highlighted by two exceptional performances and a script that refuses to descend into melodrama or resort to manipulation. Beau Pere is not an easy film to watch, but it is undeniably rewarding.
James Berardinelli, ReelViews
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发表于 2011-11-15 00:24:18
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