La Tourneuse De Pages

The keyword is intensity. Director Denis Dercourt stuns with his latest movie, The Page Turner, with a systematic plotline executed with finesse. Most of Dercourt’s films revolve around classical music, such as Le Cachetonneurs (The Freelancers) and Mes enfants ne sont pas comme les autres (My Children are Different). The Page Turner explores the nature of revenge in all its dark corrupting power. There is a tangible tension running throughout the film, largely due to the character of Melanie Prouvost, the protagonist. The pale, quiet pianist seems an unlikely aggressor, but as with such seemingly timid characters, a darker sadism is highlighted, one that is infinitely more potent than physical manifestations of hostility.

The revenge in itself is done quite tastefully, without firecrackers or roman candles. It is instead, a placid, patient psychological manipulation that causes Ariane Fouchécourt’s neatly ordered universe to crumble irreparably. There are little handles in the course of the movie that have potential for climactic disasters, but these are carefully skirted, keeping the viewer on his toes, in anticipation of a drastic conclusion – Melanie’s alteration of Madame Fouchécourt’s sexual tendencies. Emotional control is gradually displaced from Madame Fouchécourt to Melanie, disrupting the bourgeoisie-proletariat power balance.

Such subtlety is not uncommon in psychological thrillers, but the ruthless abandon with which the Melanie wreaks her revenge strikes an extraordinary contrast with the typical repression of the proletariat. One’s teeth is set on edge throughout the course of the movie, as dark, inner passions fester and break out of their wearer in one fell swoop.

The movie is showing in theatres till 27th December, in French with English subtitles.

Anon.