La Vieille qui marchait dans la mer (1991) - film review

Lady M spends her retirement by the sea, in which she wades every day to assuage her rheumatism.  She lives with her former companion, an ex-diplomat, Pompilius, and although they taunt and harangue each other, they share a close friendship.  Then, whilst on holiday in Guadeloupe, Lady M is drawn to a young beach boy, Lambert.  She adopts him as her protégé and he agrees to assist her in her life of crime.  Lady M is in truth a master criminal with an unquenchable desire for adventure and luxury.  She also believes that Lambert may fulfil her more intimate desires, to the chagrin of her devoted Pompilius...

An indefinable mélange of comedy, romance and thriller, La Vieille qui marchait dans la mer is a strangely ambiguous work, one that leaves a great deal to the interpretation of its viewer.  A dominant theme which the film explores with great poignancy is the tragedy of ageing – that terrible fate which robs us of our youth, our reason, even our compassion, leaving a wizened, burnt out husk that refuses to die.

Jeanne Moreau’s portrayal of Lady M is as moving as it is repulsive.  Through one of her strongest screen performances (one which earned her the best actress César in 1992), Moreau manages to evoke a whole range of emotions.  If her character’s treatment of her past lover Pompilius is disgusting, her exploitation of her young protégé is nothing less than the product of truly sick and twisted mind.  Yet, through her moments of self-reflection, Lady M is shown to be a tragic figure who deserves our pity.  Bereft of love, drained of passion, all she can do is fantasise.  It is a poignant reminder of the fate that awaits all of us.

The film’s quirky style is, however, somewhat difficult to come to grips with.  Although the plot has a strong romantic element, this film’s construction masks this and the dominant impression if that of a mediocre thriller, strong on originality but lacking in direction.  This is almost certainly a reflection of its director Laurent Heynemann’s inclination to the thriller genre.

Whilst the script, which Heynemann co-wrote with Frédéric Dard, is generally well-written, the excessive use of invective and vulgarities will doubtless put off many viewers and could easily offend.  The film’s main fault however is its abrupt and totally unsatisfying ending.  Just when the film appeared to be heading towards a gripping, deeply moving ending it just stops.  This is a great shame because, in so many ways, this is a great film.

© James Travers 2000

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