07 April 2016
Disorder
A film by Alice Winocour
reviewed by Raj M. Host
Keeping to our new policy of only reviewing films that feature large blue swimming pools, the Shaw Sheet is pleased this week to be able to add yet another pool to its list, this time a particularly smart kidney shaped piscine on the French Riviera, with resident large pedalo duck. In a double whammy, this week’s film also stars Matthias Schoenaerts who we last saw smouldering away as Tilda Swinton’s boyfriend in “A Bigger Splash” (also 2016) where he spent much time looking hunky in the swimming pool. Tilda Swinton does not feature in the film we should add, just about the first we have seen this year without her. We are not privy to other poolside locations that Mr Schoenaerts has graced in his busy career; but UK film fans may remember him (sans pool) in “Far From the Madding Crowd” where he had to wear a smock and his sheep came to an unfortunate end, causing Mr Schoenaerts to smoulder very considerably.
“Disorder” is the highly appropriate title of our chosen film; though it was released in France (being a French film) as “Maryland” late last year. For its UK and American release it has been retitled as “Disorder”, perhaps to better reflect the nature of the film, or just to reassure American audiences that this is not in fact a film about Maryland. Though actually, it is, “Maryland” being the name of the house on Cap d’Antibes where most of the action takes place. The director and lead writer is Alice Winocour, a rising French director – though this is only her second major movie – and screenwriter.
The film follows in the rich path laid by modern French psychological thrillers, exemplified by “L’Appartement”, “Hidden” and, perhaps, the magnificent hallmark of the genre, “Tell No One”. A learned essay could no doubt be assembled linking this group of films in with the work of many French language writers, most notoriously Georges Simenon and his many works (but especially, of course, the Maigret series).
But we will stick to “Maryland”, or “Disorder”, and not trouble our readership with deep trawlings through the French soul and its urge to be disturbed at the cinema.
“Disorder” opens with Vincent, a young French soldier (Schoenaerts), trying to persuade an army doctor to let him return to active service, even though he has suffered severe post traumatic stress disorder. Whilst the army is thinking about this, he is offered a temporary job guarding a rich Lebanese businessman and his family and guests at a swish party at Maryland. Cue swimming pool; and also mysterious meetings, troubling partially overheard conversations, unpleasant rich people, and the businessman’s young shapely beautiful blonde wife Jessie (Diane Kruger – has any film ever been made where the rich international businessman is married to an overweight woman of his own age and nationality?). Ms Kruger looks tired and stressed but this does not stop Vincent smoulderingly admiring her legs. Ho ho, you may think, we have been here before.
But Vincent is having a bad time; the stress disorder is causing him to behave nervously; as does the loud music being played at the party, the snatched bits of conversation, the rude rich types arriving at the mansion gates, and possibly the splashing from the swimming pool. In short, he is probably the last man you would want to guard your wife and child in the days after a party, but no, next morning, as the rich Lebanese businessman departs hurriedly for a meeting in Geneva, he asks specifically for Vincent to do that duty. And so, in the best tradition of French thrillers, the plot starts to twist and turn. Why has Vincent been chosen for this job? What is the businessman up to; where is he anyway? Why is the weather so bad at night? When Jessie asks Vincent to take her and her young son Ali to the beach Vincent starts to think they are being followed and guns the car along the Riviera roads; followed, or are they, by a mysterious black limousine. In the end Jessie orders him into the passenger seat and drives the car sedately to the beach. After a few hours things have calmed down sufficiently and Jessie lets Vincent drive once more. Which is as far as we can really go without introducing plot spoilers. Though if you go to see the film, you will be appreciating by this point that “Disorder” is a very appropriate title for this movie, on many levels.
But what we can say is that this film will keep you well on the edge of your Odeon recliner; that you will struggle to know what is going on inside Vincent’s head and what is outside it. The film is subtitled into English, but somehow this never distracts from the tension of what is going on on the screen. Be warned, the film features widespread and full frontal smoking of cigarettes, which film buffs amongst our readers will probably have noted is now the subject of calls in the USA for banning; or at the very least films which carry such dreadful scenes should carry warnings, special certificates, and no doubt regulated admission policies. (Oddly, violence of the head exploding type, sudden shocks of crashing through plate glass window type, and full frontal nudity of the “The Night Manager” type, seem s to cause no difficulty to these pressure groups at all; they are happy to let that carry on as before.) But this is a French film, the French still reach for the Gitanes at any time and especially when their acting parts call for reflective relief or extreme stress. One could not argue, as one used to have to do with scenes of a sexual nature, that the smoky action is essential to the film, but it does seem pretty realistically French.
“Disorder” is on limited release in the UK at the moment; your reviewer saw it in a more or less empty auditorium at the National Film Theatre (unsolicited plug – London readers please do support the NFT; it is a great facility and is not in the best place financially at the moment.) “Disorder” is a well-made movie, with no special effects, which relies on good acting, good camera work, a good soundtrack and a taut plot to achieve its place among the pack of distinguished highly watchable and intelligent thrillers.
A number of rival critics have suggested that Ms Winacour, whilst undoubtedly creating a notable film, lacks follow through in the last third of the action. Maybe so, but actually, maybe not. If you do go to see the film, watch very closely the final moments; and then consider what is happening there. Oh, and if you are in the habit of taking on resting soldiers to guard your family, please take full references before hiring them. Just a suggestion.
“Disorder” is showing at a few London cinemas, including Odeons (special showings as advertised) and the National Film Theatre, Southbank.
Please click here if you would like a weekly email on publication of the Shaw Sheet
