La Fausse suivante (2000)
Directed by Benoît Jacquot

Film Review

Benoît Jacquot's daring adaptation of Marivaux's 18th Century play was not a great commercial success but it makes an unusual, hugely original transposition of a stage work to the big screen.  Taking the principle of minimalism to its limit, all of the action of the film is set in an empty, dimly lit theatre, without sets, props, music or audience.  The only reference to the period in which the play is set is the costumes and, of course, Marivaux's excellent dialogue.

Shot mainly with a hand-held camera, the film brings the audience far closer to the actors than would ever be possible in a standard theatrical production, and it introduces a sense of motion and intimacy which prevents the film from appearing static or cold.  This unusual way of filming the play is disorientating at first but it does emphasise the dark humour in Marivaux's original play and makes the spectator feel like a willing participant in the intrigues of the play's protagonists.

The absence of an audience in the theatre also gives the film a disturbing edge.  The actors seem to be so absorbed in their performances (to the extent of spilling the play into the auditorium and their dressing rooms) that you are persuaded this is not a rehearsal.  But if it is not a rehearsal, where is the audience?  Is Jacquot anticipating the film's failure to attract a large cinema audience?  Or is he perhaps reflecting on the obsessive nature of an actor's art - that once in character, an actor ceases to be himself but instead becomes the character he is playing...?

In any event, thanks to its unusual style and Grade A performances from all six members of the cast, the film manages to breathe new life into a witty and keenly observed piece of classic theatre.

Film Synopsis

An aristocratic young lady disguises herself as a knight with the intention of discovering the true nature of the man she intends to marry.  Her disguise fools Lélio, who confides in her that he loves one woman but is betrothed to another, a countess.  If Lélio refuses to marry the countess, he must give her a huge sum of money in compensation.  Yet he prefers to marry the other woman, because she is wealthier.  If only the countess could fall in love with another man, his problem would be solved.   The disguised knight agrees to court the countess - not to release Lélio from his marriage vow, but to expose his true character…