#106: TAVERNIER, Bertrand: Coup De Torchon (1981)

TAVERNIER, Bertrand (France)

Coup De Torchon [1981]

Spine #106
DVD
OOP

An inspired rendering of Jim Thompson's pulp novel Pop. 1280, Bertrand Tavernier's Coup de torchon (Clean Slate) deftly transplants the story of an inept police chief-turned-heartless killer and his scrappy mistress from the American South to French West Africa. Featuring pitch-perfect performances by Philippe Noiret and Isabelle Huppert, this striking neo-noir straddles the line between violence and lyricism with dark humor and visual elegance, perfectly captured by Criterion's glorious new anamorphic transfer.

128 minutes
Color

Monaural

in French

1:66:1 aspect ratio

Criterion Release 2001

Director/Writers

Based on the novel Pop. 1280 by Jim Thompson.

Written by Jean Aurenche and Bertrand Tavernier.

Tavernier was 40 when he directed Coup de Torchon.

Other Tavernier films in the Collection:

#1122: 'Round Midnight (1986)

The Film

Once that you’ve decided on a killing

First you make a stone of your heart

And if you find that your hands are still willing

Then you can turn a murder into art

There really isn’t any need for bloodshed

You just do it with a little more finesse

If you can slip a tablet into someone’s coffee

Then it avoids an awful lot of mess

Now if you have a taste for this experience

If you’re flushed with your very first success

Then you must try a twosome or a threesome

You’ll find your conscience bothers you much less

Because murder is like anything you take to

It’s a habit-forming need for more and more

You can bump off every member of your family

And anybody else you find a bore

Now you can join the ranks of the illustrious

In history’s great dark hall of fame

All our greatest killers were industrious

At least the ones that we all know by name

But you can reach the top of your profession

If you become the leader of the land

For murder is the sport of the elected

And you don’t need to lift a finger of your hand

— Andy Summers/Gordon Sumner

As Sting and Summers wrote, “you can turn a murder into art.”

In transferring Thompson’s novel to West Africa, on the eve of WWII, we find Lucien Cordier (a brilliant Philippe Noiret) as the chief of police in Bourkassa. But — like Rodney — he gets no respect. From anybody.

Including his wife, Huguette (Stéphane Audran) who is sleeping with her “brother” Nono (Eddy Mitchell). Rose (Isabelle Huppert) has a husband who beats her, which Lucien pretends not to notice.

Two pimps — Le Peron (Jean-Pierre Marielle) and his buddy — mercilessly tease and humiliate Lucien, until he can stand it no longer.

That’s where The Police come in. 

**

There is also Anne (Irène Skobline) — a virginal school teacher — who seems to be the only one with any morality hanging around. Lucien goes out of his way to envelop her in his guilt.

Tavernier’s steadicam is wonderfully active, following characters around the bend and through the defined open spaces of the dusty town. The local Black population is treated exactly as you might imagine the French colonizers would have treated them in 1938. Tavernier never hits you over the head with this, but there it is — always visible …

Philippe Sarde’s score compliments the action nicely and unobtrusively.

Film Rating (0-60):

55

The Extras

The Booklet

Six-page wraparound featuring an essay by film critic Michael Dare.

“‘Ambiguity is Tavernier’s subject and his style: You may scratch your head at times, wondering … exactly what the point of this dark fable is, but you will just as likely be seduced by its macabre humor.’”— David Ansen/Newsweek

“It might seem impossible to make a humorous movie that seriously embraces nihilism. But in the hands of a master like Tavernier, even ambiguity can be entertaining.”

Commentary

None.

Video interview

With Tavernier.

He credits Aurenche, who had a better understanding of colonial French Africa in the 30’s, with helping develop the screenplay.

Shooting with Fuji vs. Kodak stock for the soft, pastel look of the color.

He also makes a cogent parallel with Michael Powell’s Peeping Tom (1960) {Spine #58} re: the Lucien-Anne relationship compared with the Helen (Anna Massey)-Mark (Karlheinz “Carl” Böehm) one in Powell’s film …

Alternate ending

Tavernier and Aurenche had an idea which looked good on paper, but they were not able to film it properly. A little silly, a little of Kubrick (2001) … it might have been effective.

The actual ending of the film is a surprise recapitulation of the beginning.

U.S. theatrical trailer

“Clean Slate” — one of the stupidest trailers of all time, spoiling the entire film …

Extras Rating (0-40):

34

55 + 34 =

89

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