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40 out of 44 people found the following review useful: Music and murderous tension, 16 February 2007 Author: Chris Knipp from Berkeley, California
Director Denis Dercourt is also an accomplished classical musician. His previous film with a musical background, the 2002 My Children Are Different, was the austere study of a parent who was brutally demanding of his musical children to the point of revolt. Clearly Dercourt is interested in how musicians may suffer – the demanding hours of practice, the merciless competition, the terrifying concert night with its inevitable accompaniment of 'le trac' (stagefright) – and how the musician's suffering may engender suffering in others. In The Page Turner there's someone whose whole life has seemed ruined by musical frustration, and there's also someone with a horrible case of 'le trac.' Dercourt successfully combines the tension of vicariously experienced performance anxiety with the suspense of awaiting an act of revenge to be unleashed. In this film, all is bright and clear on the surface, but a mere walk down a corridor to an indoor pool can be heavy with foreboding.This is a somber and elegant film less rich in detail than My Children Are Different but more intensely focused. While My Children was a coming-of-age story with a dark look into familial musical ambitions and their toll on children, this is a flat-out psychological revenge thriller, but completely set in a musical world. In The Page Turner Mélanie, a young butcher's daughter with serious musical ambitions, fails an audition because of the behavior of one of the judges, an egocentric pianist, Ariane (Catherine Frot) and from then on gives up her piano ambitions forever. Years later Mélanie (Déborah François, of the Dardennes' L'Infant) temporarily clerks for a wealthy lawyer, Monsieur Fouchecourt (Pascal Greggory), and also volunteers to care for his son Tristan (Antoine Martynchiow) during her vacation. Reporting to the château where Fouchecourt lives, she finds that her boss's wife is none other than Ariane. She immediately sets out to gain the unsuspecting Ariane's confidence – easy, since Ariane has recently lost all her confidence due to a serious car accident and needs all the extra support she can get. Before you can say "cadenza," Mélanie has become indispensable as Ariane's page turner for important concerts. Mélanie also wins Tristan's affection and becomes important to Ariane in more subtle ways. The only person she doesn't seduce is the cool, aloof Greggory. Eventually in the isolation of the château almost all the attention is on Adriane and Mélanie, but there are a few other small but important details. A cellist gets flirty with Mélanie and she punishes him severely. Tristan likes to practice holding his breath under water and when Mélanie challenges him in that and urges him to play a Bach piece faster than is good for his hands – all these things take on an ominous feel. We know there is going to be a breaking point when Mélanie will bring down Ariane's world, but we don't' know how or where the destruction's coming: Dercourt is continually bringing the tension to a tighter pitch by keeping us guessing.Frot gives a fascinating performance and François too is effectively used, so still and tightly wound she seems able to inspire confidence or destroy it with a blink of her pretty eye. The action is less violent but the spirit of Chabrol hovers over this piece, which uses sweeping music and women fainting as in a Forties melodrama – and most successfully so. Frot, who has played ditsy women very successfully before, is beautiful and imposing here. A weakness of the film is that her character, while obviously wooden and egocentric in some ways – with her son, for instance – is a little too sympathetic for us to welcome her victimization. But the pleasure of Dercourt is in the discomfort he so elegantly arouses.This is the cool side of the French personality. Dercourt's people seem curiously wooden most of the time – like Auteuil's character in Un coeur en hiver, they seem to live in a continual winter of the spirit – but within the world of austere elegance and musical dedication that he creates, somehow that woodenness becomes believable and even moving.The Page Turner has received one musical and two acting César nominations: Jérôme Lemonnier for the composition, Catherine Frot for best actress, and Déborah Francois (of the Dardennes' The Child) for most promising young actress of 2006. Dercourt works in an area that he's intimately familiar with and knows how to create a mood. He also likes to use musically gifted youngsters in his films and the boy, Tristan, is one of those. Pascal Greggory plays Frot's husband with appropriately unctuous elegance. He's exactly the man she deserves.
38 out of 46 people found the following review useful: Strong in detail, 4 September 2006 Author: incitatus-org from Paris
Young village butcher's daughter Mélanie fails a piano competition because she is distracted by the rudeness of one of the musician jurors. Having given up on music, she finds herself in Paris many years later, taking on a placement at the juror's husband's law firm, who invites her into his home as a nanny for the holidays. The question is, of course, will she take revenge on the juror, and if so, how?Old-school drama, presented timelessly by an excellent pair of actresses. There are many beautiful little touches to keep the tension high, ranging from the juror's son's fascination with 'how many seconds can I stay underwater' to the butcher's daughter hacking away at the preparation of dinner. It would be a shame to divulge the countless other little details put into the film as we follow the young, pretty Mélanie in the Juror's household, as it is in the details that lies the fascination. And it is that fascination which has to hold you captive, which it will, despite the simplicity of the script.
40 out of 51 people found the following review useful: Devil in disguise, 19 August 2006 Author: guy-bellinger (guy.bellinger@wanadoo.fr) from Montigny-lès-Metz, France
*** This review may contain spoilers ***
Many have said that Denis Dercourt's fifth and latest opus had the true flavor of a good old vintage Chabrol and I will not personally deny it. Indeed, following the master's example, Dercourt proves able to destroy a well-built structure from within (as a matter of fact, the main character, Ariane, will lose everything in the deadly game: luxurious house, loving husband, fortune and renown). Like Chabrol as well, the director is very good at dealing with meaningful silences (Mélanie, the most active of all the characters paradoxically does not say – nor move – much). In addition he also succeeds in building a tense atmosphere without resorting too much to action. As for Mélanie, Claude Chabrol must have loved her, unbalanced as she is. To crown it all, isn't Mélanie's father's job (a butcher) homage paid to "Le Boucher", one of his masterpieces? Of course in this case it is not the butcher who is the monster but as the basic principle of the film is inversion (the victim turns into executioner and vice versa), it could very well make sense.Whatever, "La Tourneuse de Pages" is signed Dercourt, not Chabrol. First things first, unlike in a Chabrol noir movie, there is no harsh criticism of French bourgeoisie. The Rachécourts are decent people and, if Ariane proved a little offhand during Mélanie's audition, she does not deserve the horrible treatment her former victim inflicts on her. Secondly, Denis Dercourt is an expert in a field which is not particularly Chabrol's one: the world of classical music. Not only is he a professional viola player but he is a teacher at the Strasbourg Conservatory as well. All of his five films except one ("Lise et André") are about classical music and musicians. And naturally, even though "La Tourneuse de Pages" is basically a psychological thriller (a new genre for Dercourt), music and musicians were bound to be an integral part of it. Five important characters are indeed connected with the world of music: on the one hand, Ariane, a great pianist who feels insecure after a serious accident; Laurent and Virginie, the two other musicians of Ariane's trio; Tristan Fouchécourt, Ariane's young son, who is learning the piano; on the other hand, Mélanie, the girl who has been excluded from it and who can't bear it. These five are confronted with its beauties (they have -or could have had – Bach, Chostakovich, etc. at the end of their fingers) and its dark side (no weak point allowed, permanent tension, the threat of tendinitis, etc.) All these issues, specific to Dercourt, are addressed seriously, enhancing the interest of the story, but the scriptwriter-director is very careful not to dwell on them, always privileging the story and the characters. As a result, all the elements blend well and the film can please everybody, whether or not introduced to the environment of classical music.For "La Tourneuse de Pages" is first and foremost a psychological thriller and an effective one. The strength of the plot lies mainly in its simplicity. By simply reversing the initial situation (the weak one has become dangerous), Dercourt unsettles the audience that fears the worst for Ariane, even if things seem to go smoothly. From this premise, he builds the frightening atmosphere patiently, proceeding step by step, slowly but surely. He is never explicit about what the "heroine" does but lets the spectator find out about her actions four or five scenes later. The two or three climaxes are made all the more striking through this restrained style.The two lead actresses are excellent. Catherine Frot is impressive as always: just look at the fingers on the keyboard, they are hers; incredible! And the way she expresses her feeling of insecurity rings so true that you feel like taking her in your arms and comforting her. A brilliant performance. Face to her, Deborah François doesn't get the least flustered. The young Belgian actress has managed to refrain her natural spontaneity. Behaving like a serious-minded child, her youthful beauty conceals the ugliness of a ruthless monster. A devil in disguise.Recommended.
32 out of 36 people found the following review useful: La Tournese de Pages - merveilleux!, 29 November 2006 Author: tonyw-21 from Canada
Director Denis Dercourt's film is a compelling drama set in contemporary France. Mélanie (Julie Richalet) is an aspiring 10-year old pianist, preparing for her conservatory exam. Her audition goes badly when her concentration is broken by a commotion involving the head of the jury Ariane Fouchécourt (Catherine Frot), a renowned concert performer who behaves badly towards the aspiring pianist. Ten years pass, and Mélanie (now played by Déborah François) lands a coveted job at a law firm working for Monsieur Fouchécourt (Pascal Greggory). Mélanie makes a big impression on her patron, and she is recruited as an au-pair at his estate. She quickly becomes an indispensable member of the family, and intimate with Pascal's wife, who by now is struggling to maintain her illustrious career. Melanie is recruited to turn the pages of music during the make-or-break performance by Ariane and revenge appears to be the order of the day. An absolutely stunning performance by Belgian actress Déborah François, who was the lead in the award-winning L'Infant last year. Dercourt's use of silence to convey meaning and intention is remarkable, and has led to comparisons with the legendary Claude Chabrol (who directed L'Enfer with Emmanuelle Béart.)
22 out of 23 people found the following review useful: Still waters run deep, 4 January 2007 Author: purrrpuss from United Kingdom
Not once does the page turner (Melanie) reveal her thoughts throughout the action of this incredibly engaging story. Melanie's performance is one of such extraordinary deftness that the revenge she wreaks is brought upon her 'persecutors' by their own actions. 'Butter wouldn't melt' is a phrase a wise observer would wryly make of this wily operator. There is just the hint of a social comment around the social and economic class differences between the pianist and the page turner. Melanie is clearly a Leveller. In a sense, Melanie gives a virtuoso performance, dedicating herself to the quiet study and execution of her plan. Melanie leaves, dignity intact, after delivering the ultimate cure for narcissism.
23 out of 27 people found the following review useful: Vengeance served very very cold, 3 January 2007 Author: alan_wyper from United Kingdom
Melanie Prouvost (Deborah Francois) is a girl who really knows how to hold a grudge. Aged 10 she sees her prospects of a musical career go up in smoke at a piano recital when she is distracted by one of the judges, Ariane Fouchecourt (Catherine Frot), a famous pianist who thoughtlessly signs an autograph while Melanie is playing. After this failure Melanie refuses ever to play the piano again.A decade on and Melanie, while interning at a law firm, gets the opportunity to become a live in nanny for her boss's son. Needless to say the boss's wife turns out to be none other than Ariane.From hereon in the film plays on our uncertainty as to precisely how and to what extent Melanie intends to take her vengeance against the emotionally fragile Ariane, who of course is totally oblivious to their prior encounter. Is Melanie truly a cruel and beautiful ice maiden out for limitless revenge, or does she have a heart after all? The film keeps the tension going playfully and subtly, helped in no small measure by excellent performances from Catherine Frot and Deborah Francois. In fact about the only criticisms I can think to make are that the script could possibly have fleshed out Melanie's motivations just a little more fully, and also that there were several continuity errors regarding Melanie's dress. I don't often notice such errors, but in this case they involved the sudden disappearance of Deborah Francois' delectable cleavage, which I felt myself compelled to keep a close eye on throughout. A very minor quibble with an otherwise accomplished film.
16 out of 18 people found the following review useful: Great, bittersweet and to the point, 24 November 2006 Author: larsgathe from United Kingdom
I think these days the audience has forgotten how minimalist a film can be to achieve effective and powerful stories. "The Page Turner" reminds us of just that, in a era where films under 2 hours are often deemed as too short.Clocking in at 70 minutes, this is a great, neat little piece of work with solid performances throughout. Deborah Francois is has a natural cool and a hidden Machiavellian glint in her eyes that is only subtly conveyed throughout the movie, and her seeming lack of emotions is frighteningly real. This is a revenge story, and is a no nonsense script, helped further on with beautiful choices of music and great camera and directing.It conveys a powerful message on the nature of revenge how easily we humans come to lean on one another, emotionally and psychologically. Betrayal is the worst for a person to experience, and here the betrayal and revenge of "The Page Turner" is delivered with the grace of a real master of intrigue.
14 out of 16 people found the following review useful: The Page Turner, 22 January 2007 Author: johno-21 from United States
I recently saw this at the 2007 Palm Springs International Film Festival. Once you can get past the implausible beginning that sets the stage for the rest of the film it becomes a good psychological thriller. Mélanie is a talented young pianist giving a conservatory entrance exam recital that is cut short by being distracted by the thoughtlessness of a famous concert pianist who is one of her judges. Years later as a grown young woman she puts herself in a position to seek her revenge on the woman who was that judge at her recital exam when she was a young girls aspiring for a career as a classical pianist. Déborah François as Mélane gives a good performance as the page turner and although it is a one-dimensional performance I guess that is what the role calls for. Catherine Frot is very good as Ariane, the concert pianist on whom Mélanie plots her revenge by inserting herself into her household and career. Very good music from Jérôme Lemonnier who wrote the score for the film. Additional piano pieces from Bach, Shostakovitch and Schubert. Dennis Dercourt directs a story he co-wrote with Jaques Sotty. The story has it's flaws but overall it delivers as a good film that I would give a 7.5 out of 10 and recommend it.
12 out of 16 people found the following review useful: Good psychological thriller, 15 February 2007 Author: David Martin from United Kingdom
I only found out about this film when I checked the Odeon website to see what was showing at the Director's Chair screening on the day. Financed by Film4, this an excellent French psychological thriller on the trauma of childhood twisting a person to revenge. When young Melánie (Déborah Francois) is distracted in a piano audition by Ariane Fouchécourt (Catherine Frot), causing her to fluff her performance, she goes home in tears. Years later, accepting a position as a home help chance would have it that the person she is helping is Ariane... A good character piece with a slow revelation that works like a clockwork toy, unwinding with a twist.
15 out of 22 people found the following review useful: The Page Turner, 7 January 2007 Author: Raj Doctor from Amsterdam, Netherlands
This is a French movie and why I selected to see this movie was because it was running for a long time in Amsterdam. I thought that it must be a good movie. I had seen the trailer earlier and as I do not understand French I found it to be a homely movie. But that was not the case, when I read the reviews before seeing the movie – I understood that it was a thriller.So I got more interested and went to see it. The usher of the hall – looked like did not expect a colored Asian to come and see this movie – may be she did not see any in its 14 week run in the theatres. So when she saw me – she stopped me to check whether I am entering the right hall or not – and yes I was – I was going to see a French movie – La tourneuse de pages – meaning the turning of pages.It is a beautifully told story about a young gifted girl who is a very good piano player. She wants to get admission in a music school – but fails at the admission test because one of the lady jury member is arrogant not to give an autograph to her mother, but to show off in front of other jury members – gives autograph to someone in the middle of this girls performance; in turn unintentionally distracting her and loosing her concentration, ending up not being selected. This leaves a deep scarce inside this girl's mind, who abandons playing piano.The next scene spans after 10 years, when this girl is grown up and is appointed to work in a lawyer's firm. The owner of the firm is the husband of that female jury member because of whom this girl was not able to pursue her interest in music - playing piano. The remaining part of the story is about this young girl's revenge to this lady jury member. The young girl is played by beautiful Deborah Francois – who plays every emotion of the innocent young girl's character with perfect ease and comfort. All the credit to the director Denis Dercourt who uses images to transfer the thoughts going on the character's mind with such ease on screen. The story unfolds – we as audience expecting what are the next thing this girl is going to do? I would not tell the tactic the girl uses – it is really very interesting and people who want to study the portrayal of psychological intent on screen – should study the scenes, characters and the on screen incidents.At the end of the movie – I was actually waiting for something more to happen and was disappointed that the movie got over so fast. Full credit to the other character of the lady jury member – Catherine Frot – who has displayed a decent, typically wealthy lady's character – by going into the skin of what this elite people do or behave.Worth watching.
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