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- <text id=90TT0141>
- <title>
- Jan. 15, 1990: Shades Of Gray
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1990
- Jan. 15, 1990 Antarctica
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- CINEMA, Page 52
- Shades of Gray
- </hdr>
- <body>
- <qt> <l>STORY OF WOMEN</l>
- <l>Directed by Claude Chabrol</l>
- <l>Screenplay by Colo Tavernier O'Hagan and Claude Chabrol</l>
- </qt>
- <p> In 1943 the Vichy government condemned Marie-Louise Giraud
- to the guillotine for the crime of performing abortions. She
- was one of the last three women executed in France. If her
- story were made into an American TV movie, Giraud would cut one
- of two familiar figures. She might be a pioneer battler for
- reproductive rights, bravely tending to the misery of her
- countrywomen. Or she could be the cold and soulless predator,
- robbing a besieged nation of its progeny.
- </p>
- <p> All praise, then, to Claude Chabrol for painting the story
- in honest shades of gray, for finding sense in a case that
- could wallow in sensation. His Marie (Isabelle Huppert) is
- caged in a drab marriage in a dull town in occupied France. The
- Germans have put hopes on hold; survival is a matter of wily
- compromise. When Marie finds a neighbor artlessly attempting
- an abortion, she helps out. Word gets around, and soon she is
- a successful businesswoman. And the perfect homebody: she
- performs abortions in the kitchen, rents her spare room to a
- prostitute and takes her collaborator lover (Nils Tavernier) to
- the bedroom. Like Charles Chaplin's murderous Monsieur
- Verdoux, she is a microcosm of her amoral country.
- </p>
- <p> Story of Women, named best foreign-language film by three
- critics' groups, is an eloquent example of Simenon cinema--the
- kind of movie that, in the manner of Georges Simenon's novels,
- treats melodramatic subjects with clinical dispassion. Chabrol
- never coddles viewers; he trusts them to sort out the evidence.
- His Marie is too complicated to be either a monster or a
- savior. And Huppert's beautifully deadpan performance finds the
- ideal emblem for Marie, a vessel empty of everything but human
- contradictions.
- </p>
- <p>By Richard Corliss.
- </p>
-
- </body>
- </article>
- </text>
-
-