Summary
Nicolas is a quiet 12 year old boy who goes on a school skiing trip with his classmates.
Worried that there might be a coach accident, Nicholas’ over-protective father insists
on taking his son to the alpine chalet himself. When he joins his class, Nicholas
feels out of place and alienated. He starts to have disturbing nightmares.
Then his dreams are surpassed by an equally unsettling reality...
Review
La Classe de neige is a deceptively simple psychological thriller which merges
real-world brutality and childhood fantasy to create a disturbing exploration of an adolescent
mind. The shy, well-behaved Nicholas appears to inhabit a happy, bourgeois
family background, but in truth he is trapped in a nightmarish world where horrific thoughts
distort his vision of reality.
There is a strong moral lesson here about the extent to which children are vulnerable
to their parents’ - and indeed society’s - view of the world. Nicholas’ father is
paranoid about what might happen to his son - and, as it turns out, there is a good reason
for his paranoia. So he smothers his son with affection and is overly protective
- we never quite know how far this goes, but there is a strong hint that child abuse might
be involved. The effect of this on Nicholas is devastating - basically his
life is ruined. By knowing too much about the world’s horrors, Nicholas’ world becomes
nothing but horror. This may not be a particularly original idea, but the film covers
the territory with tremendous imagination and impact.
Although it is a faithful adaptation of Emmanuel Carrère best-selling novel, the
film is a work of art in its own right. The strongest element of the film, without
any question, is the photography. The visual imagery combines Buñuelesque
surrealism with visceral horror, whilst maintaining a strong underlying theme and without
undermining the strong characterisation. The bleak, snowy landscape in which the
film is set provides an icy cold feel which somehow makes Nicholas’ nightmares more frighteningly
real and provide a bridge to his troubled sub-conscious thoughts.
Although there is some pretty mild horror (twitching severed body parts in the remarkable
"Monkey’s Paw" sequence), there is nothing truly shocking - although such imagery has
a strong impact when placed beside pictures of a school trip. The shock comes more
from the situation itself - the fact that a young boy could have such a distorted vision
of reality.
Claude Miller’s direction is near-faultless, and he is served admirably from some talented
child actors. Miller worked as a production assistant to such giants as Truffaut
and Carné, and that influence is felt in this film.
This is a film that is not only an excellent piece of French cinema, but one that has
a strong message for our society concerning the susceptibility of children to corrupting
influences. In a world where it has become the norm to regard children as young
adults, this is a timely reminder which cannot be repeated too frequently.
© James Travers 2000
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