L’Affaire des poisons (1955) - film review

The Marquise de Montespan is a scheming adventuress who hopes to become the favoured mistress to King Louis XIV of France to advance her social status.  However, she is thwarted by the young Angélique de Fontanges, who is the King’s current favourite.  Out of desperation, the Marquise de Montespan engages the services of a professional poisoner, the venomous La Voisin, to render her rival ugly.  The potion unfortunately kills the young Angélique, and the royal court is thrown into turmoil...

In contrast to many French period films, L’Affaire des poisons is a decidedly dark, humourless affair, having perhaps more in common with the contemporary thriller genre than the tradition of historical drama.  It is based on a collection of documents which described a real-life incident which took place in 17th Century France.  At the time, black magic, devil-worship and poisoning were rife in Paris, a reaction possibly to the tyrannous extravagance of the Bourbon regime, a regime which in part thrived on the treachery which it inspired.

This film paints an uncompromisingly sombre view of life in 17th Century Paris, with allusions to Satanism. infant sacrifices, execution by burning, and some graphic scenes of torture.  Unfortunately, this engrossing detail is somewhat marred by a creepy musical score that seems to derive from a third rate horror film, having the undesirable effect of rendering the film’s most dramatic moments unintentionally comical.

L’Affaire des poisons contains some disturbing scenes, brought to life by some fine performances.  Most memorable is Paul Meurisse’s Abbé Guibourg, who stalks the gloomy shadows, eyes gleaming maniacally in a face that conveys the innocence of a saint, exuding evil from every pore.  His partner in crime, Viviane Romance, gives an equally chilling performance playing a character with no redeeming features whatsoever.  Danielle Darrieux at least offers some contrast – her character is not so much evil as misguided, and her human fraility gives the film its tragic dimension.

© James Travers 2007

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