OutsideHollywoodLand
Most costume dramas about a poor relation follow a similar trail: The poor one, filled with high expectations and good intentions, gets the money and true love by suffering through a series of pitfalls, only to be winking at the audience by the ending credits. Our Cousin Bette gets there, but she chooses another road, perhaps more hazardous, but infinitely more entertaining for us. This fascinating tale is about a relative who is treated poorly by everyone in her aristocratic family, while they themselves live in debt, denial, and high fashion. Jessica Lange plays the title character with a cynical smirk, as though she's daring every one to call her out, yet she knows – only too well - that people are so consumed by their own personal dramas that they ignore the fine details.Described as "the bad seed who refused to blossom", Bette is the sister of Adeline, who languidly takes her time dying, while instructing her spinster sibling as to what flowers to lay on her casket. One look at the two – Adeline in her death-bed finery and Bette, in a basic drab dress, devoid of any adornment – and it's all too evident where the balance of power resides. Bette: (to Jenny) "How could you know? You don't know who I was sacrificed to – to Adeline. They slapped me and caressed her. I went dressed like a wretch and she like a fine lady. Adeline, the garden, peel the vegetables, Bette. She never lifted a finger except to tie her ribbons."Describing herself as a "country peasant", Bette lives in the slums of Paris, working as a costume seamstress to the reigning burlesque star of the day, Jenny Cadine (played by Elizabeth Shue), who vainly shows off her derrière before every final curtain is rung down. Jenny puts off the ticking clock of time by enjoying the attentions of her many rich – and generous - admirers, yet one fateful day encounters her worst nightmare.Jenny: "I'm 24…I may as well be dead."Bette: "You were 24 years old yesterday and it didn't seem to bother you then." Jenny: "Today, while I was walking in the park, I came across a hideous old woman, face swollen and scratched; she stank of stale wine and sweat. In her filthy tresses she had placed a beauty patch, one red camellia I knew at once who she was - she was known as Carabine, the most famous courtesan in Paris. Everyone envied her dazzling shoulders, her milky skin. She had a neck so smooth it might have been turned on a lathe. Her trademark was a red beauty patch, a red camellia."'Carabine? Is that you?', I asked. 'No, there is no Carabine, she has left me.' Originally a novel by French author, Honore de Balzac, this modern version boasts an international cast of talent. Bob Hoskins (Cesar Crevel), Hugh Laurie (Baron Hector Hulot), Aden Young (Wenceslas), Kelly Macdonald (Hortense Hulot), and Geraldine Chaplin (Adeline Hulot) all twist and turn in time to Bette's song of vengeance. Set in Paris, during the pre-revolutionary period of 1846, screenwriters Seifert and Tarr turn Balzac's morality tale into a microcosm of the class resentments barely simmering just beneath the pearls and petticoats of Bette's shadow world. Yet she's nothing if not flexible, as she revises her best-laid plans in the face of cross and double-cross by family and high society associates alike. Bette: "I'll see them – all of them – in the dust! We're both daughters of the soil, and blood of the voge, and do you trust me, as a sister?"Jenny: "Yes…"Bette: "And will you help me, as you would a sister?"Jenny: "Yes…"Bette: "Then you will be the ax and I'll be the hand that wields it."Surrounded by people with their own notions of power, Bette plays nonstop Powernoply until she wins all, while the French Revolution rages. She's able to play upon the passions of her tormentors and deftly manages to wreck her subtle brand of ruthless revenge upon one and all, causing adultery, a duel, physical illness, embezzlement, financial ruin, imprisonment in the Bastille, and a crime of passion - all of which sees her contentedly sewing in the grand house, dressed in her own silken finery, cooing to a child who's the product of this genteel carnage.
LollyblueCat
Well, I have read the novel, of course, and it was excessively boring, like all of Mr. Bazac's I must say. The novel is more about bonds and money and it's kind of a good bible for those who have money problems, but it's definitely NOT the sort of story that films can be made on. Howevwr, when I watched the film Cousin Bette for the first time I was more then surprised. Boring and tragic novel became a lively comedy with such intelligent intrigues and lovely songs that Jenny Cadine (Elizabeth Shue) sings through the film. Every character is made with great precision and care, just like in Gone With the Wind. Acting is truthful and excellent in all aspects. The director Des McAnuff has taken care of every detail. Theatre lovers will be delighted. And for once again English movie proves that English people know France and French people better than French people do.
cameront
A somewhat sanitised version of the Balzac classic which departs disappointingly from the original story. Jessica Lang is far too pretty a version of the downtrodden, wizened old hag Bette of the original and so conveys none of her deviousness in the many schemes to avenge herself against her condescending relatives. Missing completely from the film is arch-whore Valerie, a central character of the book's plot, who dies a grim death from a disfiguring tropical disease at the conclusion, thus removing an important moral message of the tale. Most of Balzac's other works viz. Madame Bovary, contain one of these. That said, costumes and furniture are fairly faultless which shows Hollywood has at least tried to do justice to a great book.
brygos
and just about everyone else. Who knew that deception, treachery, and revenge could be this tedious.Although the period production design is reasonable, this film suffers from lax direction and the presence of an `international cast', with the resultant mix of accents and acting styles. Of the better known thespians, Geraldine Chaplin again demonstrates that she inherited her mother's looks but not her father's talent, whereas the best that can be said of Americans Elizabeth Shue and Jessica Lange is that they are woefully miscast.As a courtesan, Ms. Shue exhibits about as much ability to drive men to ruin as a stale baguette, while a rosy-cheeked, unwrinkled Ms. Lange delivers a studied, monotone performance relieved only by occasional lapses into a southern accent.This Gallic debacle left this reviewer wondering if the final musical sequence was indicative of a certain regard for the audience, and firmly convinced that bringing French literature to the screen is best left to the French.
