8 Women

'8 Women' is a rather unique film. On the surface it is the probably only entry in the genre of the grotesque whodunit-musical. But actually, it's a huge playground - for the actresses who get the chance to play with the stereotypes attached to them, and for director François Ozon to toy with the clichés of the whodunit.

Here's the setup: 1950s. A beautiful mansion. A man is found lying in his bed with a knife in his back. The possible suspects: His wife, his two daughters, his sister, his mother-in-law, his sister-in-law, the chambermaid and the cook. As these eight women can't leave the estate or call the police, they try to find the murderer themselves. We know this situation from countless Agatha Christie-stories.

But what Ozon makes of this situation is just incredible. It already begins with the casting: Who else could play the gentrified Gaby if not Catherine Deneuve? Is there any actress who would fit more perfectly for the role of the spinsterish sister than Isabelle Huppert? Who else would you want to walk around in that dress of a chambermaid than the most desirable Emmanuelle Béart? The actresses are eagerly playing with the stereotypes that surround them because of both, the roles they played and their private lives.

Then there's the story: All whodunits have those obligatory scenes where the motives of all characters are revealed. '8 Women' takes that formula and deliberately goes over the top with it, it's characters are unfaithful, pregnant, lesbian, poisoners and many things more. And as a final twist, the film stops eight times to give each of its protagonists a chance to reveal her true character in a scene entirely devoted to them - singing and dancing. There is also another scene worth mentioning that is entirely dedicated to the actresses: A scene with a lot of dialog that entirely consists of nothing but a series of closeups - and that for about three minutes.

Cinephiles can enjoy this film on even another level: The film is filled with references to beloved classics. Consider Fanny Ardant's musical number, which pays homage to Rita Hayworth's glove-strip in 'Gilda', and another Rita Hayworth-moment so wonderful I won't reveal it here. Consider Emmanuelle Béarts hairstyle that echoes Kim Novak in 'Vertigo'. Consider the fact that the late husband of the Dannielle Darrieux character was a general, reminding us of 'Madame de...'. Or consider the painting of the young Catherine Deneuve hanging in one room - a replica of a 'Belle de jour'-poster. All this is supported by the rich, colorful cinematography, the art direction and the costumes, that give the entire film a 1950s look.

But attention: If you give this film a chance, don't expect it to be logically consistent. It isn't. But that doesn't matter at all. The murder mystery story is replaceable. The film is entirely devoted to its brilliant actresses and the wonderful, bitchy dialog they exchange. It's great fun and it is getting better with every viewing.

It is nearing Christmas when Gaby and teenage daughter Suzon return to their home. Her husband Marcel is poorly but he has allowed Gaby's mother Mamy and Aunt Augustine to remain in the house as well – with maids Chanel and Louise to help with the guests and his other daughter Catherine. With all these women in the house, minor squabbles break out but nothing compares to the tension when Louise discovers that someone has murdered Marcel. With the house cut off by snow and the phone lines cut, it is clear that one of the eight assembled women must have done the murder – but with so many motives and so much suspicion, who could it have been?

Even if you have not seen any of these types of films or plays, the set-up will be familiar as a sort of drawing-room "one of us is the murderer" affair and indeed that is exactly what it is, in the tradition of Agatha Christie I suppose. However what Ozon's film does is take the staples of this genre and plays with them to produce a richly comic, colourful and enjoyable exaggeration thereof. Unlike some reviewers, I did not find it roaringly funny but did find it continually amusing. The plot could have been played straight and thus is good enough to hold the interest as a genre piece but it is the delivery that makes it enjoyable and engaging. While some of the songs are a bit ropey, their delivery is all slightly ott and fun for it. It also helps that the whole film is full of rich colours, again giving it the feel of a play, happening right in front of you.

Of course as with any play, a lot does rest on the cast and here we are not disappointed as the starry cast mostly "get" what the film is trying to do. Deneuve is great as the wife while Darrieux enjoys her character a great deal. Béart and Ardant both stick in the mind easily because they have a great lingering sexuality to their characters that they bring out well (Béart is particularly impressive at this game and it was here that I twigged how stunning she is). Huppert is enjoyable but I didn't like the changes her character undergoes at the end. Ledoyen is very good with her character but I wasn't so taken with Sagnier – she was OK but I thought she had the least to work with.

Overall then an enjoyable and lively take on an occasionally dry genre. The plot is solid enough to be interesting but it is the delivery across the board that adds colour, vitality and fun to the mix – from direction through set design to of course the performances. Not hilarious but consistently amusing and entertaining.

Francois Ozon directed this interesting and occasionally lighthearted film, "8 Women." It stars Catherine Deneuve, Danielle Darrieux, Isabelle Huppert, Emmanuelle Béart, Fanny Ardant, Ludivine Sagnier, Virginie Ledoyen, and Firmine Richard.

The film takes place during a winter in 1950s France where a family congregates for the holidays. Unfortunately, Gaby's (Deneuve) husband is found dead with a knife in his back. Kind of killed the holiday spirit.

Since the dogs didn't bark, it must have been someone known to the family. They can't go to the police; the phone line was cut and they are snowed in.

As they try to figure out the identity of the murderer, we learn that each woman has a secret, which is revealed during the film. They all had motives.

Could it have been Augustin, the dead man's sister-in-law, who lives with the family? How about his beautiful wife? His mother-in-law who is confined to a wheelchair? The chambermaid who, when she lets her hair down, is even more stunning? Or perhaps the housekeeper, loyal but hiding a powerful love? One of his two daughters? His own sister, who runs a brothel? The women discuss who inherits, and multiple motives for murder, and little by little, rivalries, tears, passions, infidelities, and musical numbers emerge.

Ozon has given us a look into the female psyche, and he has employed some of France's great actresses to do it. The colors are bright, the women and clothing gorgeous.

As someone pointed out, the French do not fear casting older women. Danielle Darrieux was 85 when she made this film; She is now 98 and did a film in 2010. Some French people live a very long time - I think it's the wine.

Deneuve, 59 here, is stunning, very elegant and regal. Fanny Ardant as Pierette is gorgeous and sexy, displaying dry wit and disdain for convention. Emmanuelle Beart is the insubordinate, sexually adventurous (according to her) maid who transforms herself during the film, as does Augustin (Isabelle Huppert), the homely sister-in-law. Firmine Richard, a formidable black actress, does an impressive job with the role of Chanel, the housekeeper who finally reveals her secret.

They are all so wonderful -- French women to my mind have a very earthy, worldly quality as well as sophistication. When one thinks of some American actresses in comparison, they seem like plain vanilla. It's a generalization, I know, and we do have some fine actresses, but I think the mindset of American show business is focused on youth and typecasting.

This film is enjoyable because of the cast and the look of the movie. I can't say the music was fabulous or even fit this story. It was a touch of whimsy and the upbeat tunes were fun. There were some sad ones, too. C'est la vie.

I don´t want to write about a plot, because I guess: 1. most of the people, who will read this, have already seen it 2. this film really isn´t about a plot. This film is about style and 8 great French actresses - each of them is one good reason, why you should see this film. The best way how to "use" this film is just to sit and enjoy it. You don´t need to think (but this doesn´t mean that there is nothing to think about), you can only watch - luxurious interiors,great looking dresses and haircuts... and you can smile - sometimes, when I read other reviews, I have a feeling, the writer have seen a different film -THIS IS NOT A DRAMA, IT´S A COMEDY (very absurd)!!! It has a style of hollywood musicals from golden era of 30´s and 40´s, but in the same time it´s not american, it´s still very French film, with the specifiec antmospehere, which French films usually have. And my last word: more french film to czech cinemas!!!

RATING: ***1/2 out of ****

Being what it is, it seems like Francois Ozon's "8 Women" would have everything going against it. After all, the premise is hardly original and every single plot twist is predictable and derivative. There are plenty of Agatha Christie movies (not to mention the wonderful play "The Mousetrap") to offer us what "8 Women" promises as a mystery. Although I can't say if a murder mystery musical of this type has been attempted on film before, the musical numbers in this film are a bit awkward and stick out like a sore thumb. With all of this, "8 Women" would seem almost repellent. Truth be told, I loved every minute of it. The setting is Christmas in the mid-1950s, and seven women are gathering in the country home of Marcel (Dominique Lamure). There is his wife Gaby (Catherine Deneuve), who has just brought one of her two daughters, Suzon (Virginie Ledoyen) back from college for the holiday. Anxiously awaiting her are her peppy sister Catherine (Ludivine Sagnier), her disabled grandmother Mamy (Danielle Darrieux), her neurotic aunt Augustine (Isabelle Huppert), cook Madame Chanel (Firmine Richard), and newly hired maid Louise (Emmanuelle Beart). All of them, although not always on the best terms with each other, seem intent on having a good time this Christmas.

Too bad for them. As is customary to happen in movies with a large mansion housing many guests, Marcel (the only man in the house), is murdered. The phone line has been cut, the car has been sabotaged, and the weather is such that no one can scale the wall surrounding the grounds. One person, however, does get in: Marcel's sister Pierrette (Fanny Ardant), who arrives with a story (which may or may not be true) that she got a call the night before saying that Marcel had been murdered. It becomes apparent that the murderer is one of these 8 women, and it is up to them to tell the complete truth and find out everyone's secrets so that they can find out who the murderer is.

It's high time we have a film like "8 Women", a maliciously absurd exercise in high camp. It succeeds even... no, especially when it fails. The story itself is the kind of murder mystery that has been filmed over and over again in previous years, but it's impossible to get enough of. This film handles all of the conventions with the perfect Christie-esque tone. It's still as fun as ever to point fingers at various possible suspect, and "8 Women" is just predictable enough that even the least experienced viewer can partake in the fun.

And with this cast, why shouldn't we have fun? One of the main purposes of this film is to let these eight actresses simply enjoy themselves, and their wicked glee comes through on screen. I wonder if Francois Ozon was at all able to keep his authority as director during shooting. For let such fantastic actresses loose on each other, allowing all of them to inhabit such bitchy individuals, one had better stay out of their way. It is said that the best comedy relies on surprise. Be assured, "8 Women" wreaks such delectable havoc on it's premise that there will be plenty of opportunities to ask: "Did I really just see that?"

This film knows a secret that we haven't seen many low-key projects like this successfully handle in recent memory: when in doubt, just sing. The musical numbers have varied success throughout the film. All pop up sporadically and never really find a way to come to a conclusion, but each one is a highly enjoyable bonus aside to everything else that's going on.

In "8 Women", the first rule is: there are no rules. It's infinitely meaner (and much more enjoyable) than its non-musical predecessor "Gosford Park". It's hilarious in its maniacal irreverence, and it is yet another example of a film that would fall flat on its face if it were not for the actors leading the way. If I am going to be seeing a murder-mystery-musical, I would want none other than the cast of "8 Women" at the helm.