L'ivresse du pouvoir (2006) watch online HD

This new movie by Claude Chabrol is directly inspired by a true story. The "Affaire Elf", named by the french oil-company, was a large financial and political scandal where several top-level french politicians where involved, such as Roland Dumas (ex foreign-affairs minister) or Charles Pasqua (ex minister of interior). As in the true story, a judge is investigating about some corruption in business between a french major company and some African states. Most of the characters in the movie are very similar to real persons involved in the "Affaire Elf".

The movie focuses on two subjects: the first one is how the judge (Isabelle Huppert) becomes more and more addicted to the power she uses by sending powerful businessmen to jail; the second one is the wide-scale cynicalness of people involved in the scandal, used to play with public money and take advantage of this without seeing anything immoral.

A good movie, very funny because, as stated at the beginning "any similarity with real person or event would be, as it is said, fortuitousness".

In Paris, the obstinate and tough judge Jeanne Charmant-Killman (Isabelle Hupert) investigates a corrupt and powerful corporation that is embezzling public funds and its president Michel Humeau (François Berléand) is arrested and sent to prison. She uses the hearing to collect evidences against the board and lobbyists, and sends one by one to prison. Meanwhile the group sabotages the brakes and the steering wheel of her car forcing her to have the protection of two bodyguards. Then they use a promotion to try to persuade her to stop her work, moving her to a bigger office expecting competition and friction with the also competent and honest judge Eryka (Marilyne Canto) but they become close friends focusing the same objective. Meanwhile her personal life is affected and she breaks off with her husband. When her husband apparently jumps off his apartment, Jeanne has to come up with a decision.

"L'Ivresse du Pouvoir" is another great movie of Claude Chabrol with a plot that recalls the style of Costa-Gravas. The story is extremely realistic about corrupt corporations involved in embezzling public money and a judge that becomes obsessed in sending the responsible to prison and make a difference in the corrupt justice system. All the cast has stunning performances, but the awesome Isabelle Hupert has another top- notch performance contrasting her fragility with the strength of her character that unfortunately is a fictional judge. My vote is eight.

Title (Brazil): "Comédia do Poder" ("Comedy of the Power")

Claude Chabrol return to his form with this masterpiece. I saw it at the Berlinale and the battle for tickets was worth it. Chabrol directs his actors in a very subtle way; it is not the main plot points that arouse your emotion, but small moments in the game between Charmant Killman and her opponents. Although all opponents are deeply bad people, Chabrol succeeds in giving them "things" that make them human beings and recognizable characters. Including all supporting and even one-line-characters. Watch Killmans Bodyguards, for example. Watch how Chabrol begins and ends scenes - very unusual. Watch the juxtaposition of Killmans life as a judge and her private life. I won't say much about the film itself, as it is good to know nothing about it before. It's a wise film, "La Piovra" in a cinema version (and much shorter), dealing with a topic that is most important in our western industrial countries - silent corruption. Most times the corruption theme in films bores, but Chabrol and Huppert make it a joy.

You don't HAVE to know the ELF-scandal to appreciate this, but it helps. Not long ago I asked my french prof at the Alliance Francaise to explain these funny french scandals (ELF through Clearstream 2) and he had to abstain: too complicated, even for a native Frenchman.

The company is called FMG in the film: just as Kubrick went down a letter in the alphabet to go from IBM to HAL, Chabrol goes up a letter in the alphabet to go from ELF to FMG. Nice touch! On the other hand, the cigar in the cognac was a tad overdone, to my tastes.

Huppert confirms once again she is in a class all of her own. Rest of the cast, Berléand, Canto, Vernier, Duclos (!); all solid.

For the very hardest core of french movie buffs only: did anyone else recognize the two guards – one bald, the other dark-haired – as Chabrol's homage to Zardi et Attal who did numerous duo's like this for him and other directors? Best Chabrol in years, but my judgment may be a bit colored: after 30 Chabrols, this was the first I saw in a theater instead of on my couch.

L'IVRESSE DU POUVOIR, which was oddly re-titled as A COMEDY OF POWER for the North American market (I saw it under LUST FOR POWER on cable), is a very good French flick about corruption in the government and a magistrate's attempts to bring the bad guys to justice. The magistrate is played by the sublime Isabelle Huppert. One could say that the film can viewed as some sort of black comedy about how controlling the corrupting qualities of power is ultimately futile. The film is played straight. There are no big Hollywood moments in it which for many will turn off most viewers. The film can be described as dry. Very dry. There are no mushy sentimental moments. No sex. No violence. Very little swearing. The dramatics are very low key. Heck, the music is almost non-existing. The direction is so minimalistic that it creates a tension of sorts in that I expected the director to shock us with something really bad just waiting to happen at any moment and ready to derail the whole controlled tone of the film.

The dialogue is spoken quickly and even though I understand French, the subtitles were good in keeping track with the rapid fire exchanges.

Aside from the assured direction, the main reason to watch L'IVRESSE DU POUVOIR is Isabelle Huppert's laser sharp performance. She's so good and direct, not a wasted moment or emotion in her entire performance. It's something to behold. Watching the petite woman, with her red gloves and purse, corralling all these corrupt folks, is unforgettable and it's what remains in your head days after seeing the film.

A very satisfying movie that's a nice change from the usually over-the-top approach most films take these days.

Jan 7, 2007

In Comedy of Power, Isabelle Huppert plays Jeanne Charmant-Killman, a driven French investigating judge who is committed to rooting out systemic corporate corruption and bribery. As a judge and a woman, she finds herself lined up against entrenched old-boy attitudes and an acceptance of corporate corruption shared by most of the powerful older male characters including those in a position to influence her career.

Comedy of Power asks whether a woman in a position of power and influence can be effective and also have a life. Huppert is superb as the skinny workaholic Charmant-Killman (is this last name an intentional pun, I wonder). She has no time to eat or sleep, little or no empathy or tendresse and no time for her husband. It is difficult to decide where Chabrol comes out on the question of whether she is admirable for her determination and courage or despicable for her ambition and callousness. Perhaps, in just posing the question in such stark terms, Chabrol ultimately displays his own prejudice.

At the same time that Comedy of Power examines these somewhat cerebral questions, it also manages to keep us on the edge of our seat (not on a Hitchcockian level, but enough to make us flinch when the doorbell rings).

All in all, this was a very good movie.

I confess right from the beginning to being a fan of Isabelle Huppert. I am also a student of Claude Chabrol films. I say 'student', because his films are intellectual and challenging in nature. This film is a film of our times. And its themes are also timeless. The flawed protagonist, Huppert, lives shamelessly in front of the camera. She is very human, as well as idealistic. And her idealism is personal and competitive, as well as moralistic. Chabrol has captured grand corruption in a simple narrative about people alone and in conversation. Never slick, always homely and familiar. Isabelle Huppert's performance is tempered and unusually restrained. Her aptitude for endowing her characters with mannerism and eccentricity by using simple gestures and facial expressions is in full play here. This is a film that requires effort to appreciate, but it leaves you feeling quite full.

There's a lovely tongue-in-cheek disclaimer at the beginning of this film to the effect that neither the events nor the characters depicted are based on real people or events, especially, nudge, nudge, wink, wink, the Elf scandal which rocked France lo, these few moons ago. No film of course should presuppose a previous knowledge on the part of the audience; the average film-goer outside France will have little or no knowledge of Elf and the French Government Ministers involved in corruption just as the average film-goer will know of Marie Antoinette only that she once said 'let them eat cake' and by coincidence Sophia Coppola's take on Marie Antoinette opens here, in London, tomorrow, whilst L'Ivresse du pouvoir is showing as part of the London Film Festival so it's a case of how do you like your corruption, in the 20th century heart of France or 17th century suburban Paris, that's about Versailles of it. What matters in either case is the quality of the film-making; is it good, bad or indifferent. I've yet to see the Coppola but the Chabrol is out of the right bottle. Not a lot happens dramatically despite a nobbled car and a leap from a window, it's basically cat and mouse between Huppert's incorruptible judge and the highly corruptible ministers/big business she's attempting to nail - if she IS incorruptible Huppert is not above getting high on her power to imprison some of the fattest cats with their whiskers in the cream (yet again a title has been badly translated; the literal meaning of the French title is the drunkenness of power or, more colloquially, drunk on power) which makes the French title more clear. Anybody who expects Huppert to turn in even a mediocre performance is seriously stupid and here she is right on top of her game well supported by Francois Berleand, who only a couple of years ago played her husband in Les Soeurs fachees, and here proves, as they used to say in Zenda, an opponent worthy of her steel. Go see, trust me.

Saturday June 17, 9:30pm The Neptune

An invitation to the home of a great chef requires no knowledge of the menu beforehand; it will surely be a culinary delight. The latest offering from the great French filmmaker Claude Chabrol, A Comedy of Power (L'lvresse du pouvior) is just such a feast. A powerful French magistrate is on the prowl against corporate corruption to the occasional dismay of her less than honest superiors. Issabelle Huppert stars as Jeanne Charmant-Killman, driven by her work at the cost of her personal life and ultimately her safety. Chabrol allows his powerful and richly composed camera-work to obsess on this exquisite actress throughout the film, who remains as remarkably beautiful now as she was in Michael Cimino's Heaven's Gate. As she blithely moves from office to home an air of tense anticipation builds with the constant looming threat of retaliation from the men of power she is morally charged with pursuing.

... could've been better. At least that's what I think. This movie does start with a phenomenal pace and you get sucked into the story, but then after a little while it drags and you're wondering where the passion of the first few minutes has gone. I wondered that and you might too.

Let's take a look at the actors though, because they are doing a fabulous job here. And the movie will stand of fall for you (the viewer), with your perception of Jeanne Charmant-Killman (played by Isabelle Huppert). If you don't like her, than you will hate this movie.

Despite all that, this is still an engaging film, that has a few surprises up it's sleeves, so it's up to you, if this genre is something worth watching.

In November 2003, after a sensational trial that rocked the Republic of France for four scandal-soaked months, three key executives of that country's ELF oil company were found guilty of massive corporate malfeasance on a scale not seen in Europe since the turbulent days of World War II. The graft, money laundering, and granting of political favors for which these men were convicted extended into the upper reaches of the government as well, so the scandal served a concomitant salutary purpose of finally laying bare that nation's long-established practice of state-sponsored corruption.

"Comedy of Power" is famed director Claude Chabrol's very fictionalized take on the ELF scandal. Yet, while most of the names and many of the details have been changed or even fabricated for the movie, the themes and concerns are obviously very much in keeping with the spirit of the actual event. The always mesmerizing Isabelle Huppert plays a no-nonsense judge who is unrelenting in her pursuit of corporate corruption, obsessed with bringing the culprits - no matter their position or standing in the community - to justice. Refusing to buckle under to pressure from (equally corrupt) higher-ups who believe she is going too far in her investigations, Judge Jeanne Charmant-Killman zeroes in on her "victims," refusing to let go until she gets what she wants. Chabrol and Huppert together create a woman of conviction and strength who, nevertheless, knows her limitations and can even acknowledge what a strain her single-minded determination is placing on her personal life and marriage (whether or not she chooses to do anything about it is another matter).

It's true that "Comedy of Power" feels a little underdeveloped at times, and the somewhat inconclusive and lackadaisical ending may well leave some in the audience feeling dissatisfied and cheated. For while there is a certain bravery in not succumbing to the need for a pat resolution, the movie leaves us wanting to know more about how everything turns out in the end. Yet, despite this drawback, this is an interesting, and, at times, even gripping little drama that gives us a chance to watch a beautiful, dynamic actress in action. It is Huppert's multi-layered portrayal of a moral crusader who is also very much a flawed and vulnerable human being that rivets our attention and helps us wade through all the arcane trivia of the corporate-world plotting. Chabrol keeps the film moving at an expeditious pace, with a tasty mixture of both humor and suspense thrown in for good measure. But it is in the confrontation scenes between Huppert and her various high profile targets that the film truly engages our attention.

In addition to Huppert, Chabrol has elicited uniformly sharp performances from Francois Berleand, Patrick Bruel, Marilyne Canto, Robin Renucci and Thomas Chabrol (the son of Chabrol and the great actress Stephane Audran). As an ensemble, these gifted performers bring the larger issues into focus while keeping us thoroughly engrossed and entertained at the same time.

An examining magistrate, Jeanne Charmant Killman, has been charged to investigate a very delicate affair touching political and industrial circles. She puts in examination Humeau, the president of a very large French consortium, which works on foreign affairs. The judge pushes the president and many others personalities in order to clarify all the traffic implications of the affair. She will be bound to numerous influences and his life will be put into danger, also his family life. The film is centred both on large traffics and corruption, which exist on international business, and also on powers (sometimes too big) that exist for examining magistrate. Isabelle Huppert very well acts the movie, but it seams to me that it is not a very great Chabrol's movie.

In this Idiot Nation of ours, corruption (on a global scale) is taken for granted. The GOBs (Good Old Boys, formerly known as the Grand Old Party) have raped and pillaged this country for three decades, now- and yet, not one single filmmaker (aside from a couple of documentary movie makers) has has the guts to step up and say anything about it. (John Carpenter and George Romero have given us Reaganvilles and theocracies- in THEY LIVE and ESCAPE FROM L.A.- and war between the Haves and the Have-nots- LAND OF THE DEAD- but where are the others? If there's anyone else doing anything even remotely in tune with Our Times, they're flying well under the radar.) "Morphine doesn't help," Claude Chabrol says in one interview: "It just stops the pain." It's eight o'clock in the morning, folks- time to wake up.

Few things are as satisfying to hear as "Do you know who I am?" when the person saying it is a self-assured business kingpin and the person he's saying it to is a prosecutor who is about to publicly nail the kingpin's hide to the courthouse door. All those swaggering peer-to-peer dealings -- private exchanges of huge amounts of money, stock manipulation, cheating employees of their retirement funds, obscene executive salaries, back dating options, boardroom favors, living the good life on the shareholders' nickel (think of a $6,000 shower curtain) -- suddenly have consequences that the company's high-priced legal teams can't rationalize away.

In the case of Claude Chabrol's Comedy of Power (Ivresse du Pouvoir, L'), massive corruption reaches to the top of a quasi-Government corporation. "These funds are at the disposal of political leaders. It's only normal and it happens everywhere," says one worldly, cigar smoking official. The person who plans to pull down this corrupt heap by going after the leaders is Investigating Magistrate Jeanne Charmant-Killman. Her nickname is "the piranha." Isabelle Huppert plays her with charming, relentless amusement.

The film gradually moves from the immensely satisfying techniques of senior executive humiliation to our slow involvement with Charmant-Killman as a person. All the confidant, comfortable, aging men in their well-cut suits (many with the red thread of the Legion of Honor sewn in their lapels) attempt to bluster, or flatter, or condescend their way out of her office. She delights, and so do we, in reducing them to self-pitying prison inmates.

Jeanne Charmant-Killman is a woman with issues, but we're all for her even when her relentless drive begins to affect her marriage. Her husband, a doctor from a good French family, for some reason doesn't appreciate being referred to as Mr. Jeanne Charmant- Killman. Those issues may have to do with men in power, but there are larger issues, too. "It's not the image of justice I care about," she says at one point to her more flexible superior, "it's justice." It's not too long before the brakes fail on her car, her office is vandalized, she has bodyguards and we all learn that the corruption goes higher than simply a company's executive suite. How do things end? Let's just say that sincere outrage is usually boring in a film. With Comedy of Power we have witty disillusionment to be satisfied with, and with the hope that this world has more Jeanne Charmant-Killmans.

Claude Chabrol as the director and Isabelle Huppert as Charmant-Killman give us a vastly entertaining black comedy of venality and schadenfreude, something that's dark, witty, assured and not completely cynical. What could be better than that? Well, how about nailing all those politicians who earn modest salaries as our elected representatives and then wind up as millionaires shortly after they retire from office. Somebody send for Jeanne Charmant- Killman.

The DVD transfer is fine. There is an interesting extra which discusses how the movie was made. The idea came from the Elf Aquitaine scandal in France, which was uncovered in 1994. The executives of this huge oil firm were caught in the middle of the biggest fraud since WWII. They used the firm as their own piggybank, spending huge amounts of the company's money on everything from political kickbacks to expensive mistresses, jewelry and villas. French magistrate Eva Joly uncovered the rock and smashed a large number of the scurrying bugs. Chabrol says at the start, with tongue in cheek, I think, that any resemblance to actual events and people is entirely coincidental.

Deciding to view a trio of auteur films for an ICM poll on the best movies of 2006,the first name which came to mind was Claude Chabrol. Happily finding that he made a title from that year,I got ready for the power of laughter.

View on the film:

For the seventh and final time she worked with Claude Chabrol, Isabelle Huppert gives an excellent performance as Charmant-Killman. Determined to peel all layers of corruption away, Huppert avoids having Killman deliver justice in a melodramatic style, by instead scratching away with a refined, forensic manner, which captures the professional stride Killman holds herself to. Reuniting with Chabrol straight after this for The Girl Cut in Two (2007)François Berléand gives a very good turn as Humeau,with Huppert's performance being complimented by Berléand's attempt to escape Killman's gaze with slippery underhanded skills.

Cheekily stating in the credits that the film is not based on the " Affaire Elf" scandal, co-writer/(with Odile Barski) directing auteur Claude Chabrol and cinematographer Eduardo Serra unveil the corruption in stylish dissolves over Killman's power-play marriage troubles being contrasted with the power she has in the investigation. A family affair with his sons Matthieu doing the score, and Thomas co-starring,along with wife Aurore being the script supervisor, the screenplay by Chabrol & Barski uses the "Elf affair" to continue Chabrol's clinical dissection of the bourgeoisie with the businessmen and politicians having an um-settling calm and self-confidence that they can slip out of any attempt to bring them down. Going for more of a Drama rather than a Thriller, Chabrol gives Killman fight against the corporate system an oddly casual atmosphere, via little room being given to Killman's net widening in taking on the comedy of power.

To watch L'ivresse du pouvoir for me is simply to fall in love with Isabelle Huppert. Her elegance is the indelible touch of the movie. The scenario almost a pretext to spend time with her. Green silk and red leather leave phosphors on the mind, although she has more than style; a great shot is of Judge Charmant Killman requesting her kitchen knives to be lined up in a drawer, these are her razor like strategems to bring down the corrupt. Another enjoyable feature is Chabrol's playing with structure, scenes often end whilst you still are expecting more to come, and this trick spellbinds you to the movie; also there's very little use of traditional dramatic levers, no sex scenes, very little visible animus or violence; this corking leaves much pressure building up and the end product is champagne.

The movie is perhaps a foible, a glorious foible of Chabrol. I felt that, yes, the movie is portraying an episode in French history, the Elf Affair, but that was almost beside the point, and I felt more like a member of an audience watching a Chabrol-ian magic show. It is a deliciously fetishistic exercise in the dynamics of power. My favourite metaphor is when one of the defendants, Humeau, plays football without keeping score, he and his friends play the game of power for enjoyment and mutual enrichment, not out of a desire for adversariality, they are chums on the skim. The Judge on the other hand requires prey, and fights for something much more abstract. The morality of what is going on is less interesting than the "monkey-ness".

It is a good directed and impeccable acted.

What I like the must is that it is an out of the box film.

I always enjoy a french spoked film.

However unfortunately my ignorance in the "Elf Affair" didn't allow me to fully enjoyed it.

In certain parts I lost the track of the happenings.

This a film where dialogs are above action or everything else.

Location is in Paris which is always a plus.

In any case I consider a good alternative option.

Ultimately I enjoyed it.

One of the main problems in "The Comedy of Power" is that, ironically, there is no comedy. If obvious little puns and predictable little jokes are comedy, then I am way out of it. This film, now playing at the IFC center, is Claude Chabrol in rotten 'fois-gras' and Isabelle Huppert in a rotten package of canned meat,and yes, it really is that disappointing. The film follows a chronicle that we all have heard of before, except this time, Chabrol thinks he can make magic out of Huppert. The story line, best as follows, is about a lazy french judge (A rotten Isabelle Huppert) who tries to bring down the corruption of a very powerful company. This one's a long, slow ride down an all too familiar road. One of the films main problems is the talkative dialogue; even though it's French, there are so many useless scenes of non stop talking, that you can go to sleep, wake up, and you would have missed nothing. While some of the scenes are easy to go along with, most of the film is pure familiarity. For Claude Chabrol and Isabelle Huppert, however, this probably could be named the funnest movie ever made in between them. But, unfortunately, the viewer is the one that suffers for their fun.

This is one of director Claude Chabrol's final film projects. It stars Isabel Huppert as a dogged French magistrate investigating corporate corruption. Through the course of the film, despite threats and pressure from her superior, she keeps pushing and pushing and pushing-- barely sleeping, neglecting her husband and doing nothing but work on this complex case of corruption. As for the baddies, they keep thinking that she can't be THAT determined...but she certainly is.

I really thought this was a fascinating topic and the film was well made. So why did I only give it a 6? Well, the film just ended...very abruptly and with no real resolution. It felt like a HUGE disappointment and left me feeling confused and unfulfilled. It's a shame as Huppert was excellent and the film really kept my attention...

AKA Title: This movie is now showing (Aug-Sept 2008) on the Canadian Cable TV Specialty Channel group "Movie Central" with the title: "Lust for Power" < HTTP://www.movie central.ca/ movies/description.asp? ID=FC81341B-1967-4184-BBE9-B789856FE1D7 > I tried to add this simple bit of AKA title information via the update but was told (in some auto-sensing way) that the rule for changing AKA are too difficult to follow for some inane reason. I was told to use a "User Comment" (this route) to make my comment. I tried to provide the URL evidencing the AKA of my comment -- only to be told the "word" was too long and is not allowed. The URL components are all above, just reassemble without ANY spaces. Also that I must write ten lines of comment... What stupid system given that my AKA is a simple three line entry.. Seems that IMDb really does not want to make searching for AKA titles simple.

The English title of this one could perhaps give the erroneous impression of being a black comedy when actually it turns out to be a combination of financial thriller and family drama. This could in itself constitute a disappointment for discriminating viewers but, a minor work though it is, I cannot say I was bored during the film's nearly two-hour running-time.

Constituting the seventh collaboration between director Chabrol and his female star Isabelle Huppert since 1978's VIOLETTE NOZIERE, the film boasts another fine turn from the formidable French actress as a dreaded Judge dubbed "The Piranha" investigating a convoluted series of financial transactions involving various international conglomerates. Huppert's first 'victim' is allergy-ridden businessman Francois Berleand, later a celebrity middle-man and even a supposed suitor of Huppert's. Her uncompromising stand soon sees her treading on big-league toes and she is given a couple of promotions (and an initially antagonistic female partner) to throw her off the scent of the misappropriated funds.

Back home, Huppert's family life is no bed of roses, either: her husband is often relegated to the sidelines not just by her all-important workload but also by his own charismatic live-in nephew (played by the director's own son, Thomas). To top it all off, Huppert's offices are broken into, she has a traffic accident and is briefly hospitalized, Huppert quits her husband who subsequently leaps (albeit not fatally) out of the window and Huppert's loyal secretary is, at the very end of the film, discovered to have been the mole all along! While the narrative may seem busy enough from this synopsis, the film's talky nature makes its pace a fairly slow one; however, as I already intimated earlier on, Chabrol's unwavering professionalism and consummate elegance and the solid performances on display ensure the viewer's interest in the proceedings despite the possibly unappealing milieu of financial intrigue.

Claude Chabrol uses a very unexcited style to show how corruption penetrates industry and politics in Western societies, in this film by the example of France, but applicable for all states. And he gives a portrait of a strong woman, played by the ever-fantastic Isabelle Huppert, who comes to clean up but soon reaches a point where she has to see how many people are in this system and defending it. You never really get warm with Huppert's character, firstly because the camera is very distanced and just observes, and secondly because of the character itself. She never has the chance to show emotions, every sign of it would be considered a weakness and would be exploited by her enemies. This being the way to survive in her job, it seriously harms her private life. Her marriage is destroyed by it, and friendship is hard to get with many sneaky one's trying to use her. Definitely worth seeing and an interesting look behind the curtains. But of course, this film "doesn't describe concrete events of the day."