The screenplay for Love Crime unspools like a colder, very French and lethal version of Working Girl. Modestly unassuming but ambitious Isabelle (Ludivine Sagnier) toils in a high-powered firm run by the coolly pristine Christine (Kristin Scott Thomas)Watch Love Crime Movie Online. Head accountant Philippe (Patrick Mille), although Christine’s lover, beds Isabelle in Cairo, after the latter makes a successful business deal there. Christine begins to show her true colors when she takes credit for Isabelle’s Cairo work, and then embarks on a cruel interoffice hazing campaign against her young underling. This feminine duel results, as it must, in death, but who really did what?
Director/co-writer Alain Corneau, who sadly died shortly after this film’s French release, crafted an effective if somewhat heartless entry in the long and honorable tradition of Gallic Hitchcockian suspense. Visually and technically, it’s as impossibly elegant as Christine herself, drawing you into its icy shallows (there's nothing deep about it), and not stinting on some shocking bits of nastiness either. The flashback construction delineating its central crime is rather ingenious, and the spare use of Pharoah Sanders’ jazz music effective.
Thomas is perfectly cast, her hyper-intelligent, slightly glacial quality beautifully employed here. Sagnier evinces a quiet yet steely strength that is a fit match for this formidable workaholic, both in the office and between the sheets. Mille is as handsome and sturdy as a fine piece of furniture, which is his basic cinematic function here as well, hemmed in by these battling grandes dames. Guillaume Marquet plays the essential ferrety subsidiary character who sees all and lets you know about it every now and then.
This French thriller is a tale of office politics, played out by two ruthless executives – the billingual Kristin Scott Thomas and Ludivine Sagnier. With ambition and jealousy oozing from their pores, the pair slide from competitive colleagues to bitter enemies.
Love Crime is the last film from veteran French filmmaker Alain Corneau (Tous les Matins du Monde), who died two weeks after the French release.There’s a cracker of a psychological thriller in Love Crime: imagine the cutthroat, dog-eat-dog world of corporate-ladder-scaling by way of Hitchcock at his most wry and wicked, and that’s how some of the better moments in the film play like. But those are too few and far between, and late writer/director Alain Corneau’s execution is so staid, and stuffy, there’s barely any room to delight in its potentially devious pleasures or forgive the implausibility of its increasingly strained plotting.
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The third act in particular, featuring a protracted police investigation and prison sequence, sputters with heavily telegraphed predictability when it should essentially knock us out. It doesn’t help that Corneau’s visual sense is a tad misguided: the use of black-and-white flashbacks is clunky (B&W = past!!), while the bleary digital video lensing – which works fine for the banal minimalism of office interiors – makes the film’s thriller portions look pretty sloppy.
Neither of the performances from the two leads are what you’d call "nuanced", but a few sparks are to be had from their overwrought portrayal of the master/protégé-dynamic-gone-wrong. Kirstin Scott-Thomas does her frosty best as Christine, the ruthless company head who manipulates her employees with the cold glee of a sadist yanking the wings off a fly, while Ludivine Sagnier (Swimming Pool) gets the more substantial part, relishing in her character’s descent from an immaculately presented up-and-coming exec to a jittery, near-catatonic pill-poppin’ mess trying to grasp what’s her left of her dignity.
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Director/co-writer Alain Corneau, who sadly died shortly after this film’s French release, crafted an effective if somewhat heartless entry in the long and honorable tradition of Gallic Hitchcockian suspense. Visually and technically, it’s as impossibly elegant as Christine herself, drawing you into its icy shallows (there's nothing deep about it), and not stinting on some shocking bits of nastiness either. The flashback construction delineating its central crime is rather ingenious, and the spare use of Pharoah Sanders’ jazz music effective.
Thomas is perfectly cast, her hyper-intelligent, slightly glacial quality beautifully employed here. Sagnier evinces a quiet yet steely strength that is a fit match for this formidable workaholic, both in the office and between the sheets. Mille is as handsome and sturdy as a fine piece of furniture, which is his basic cinematic function here as well, hemmed in by these battling grandes dames. Guillaume Marquet plays the essential ferrety subsidiary character who sees all and lets you know about it every now and then.
This French thriller is a tale of office politics, played out by two ruthless executives – the billingual Kristin Scott Thomas and Ludivine Sagnier. With ambition and jealousy oozing from their pores, the pair slide from competitive colleagues to bitter enemies.
Love Crime is the last film from veteran French filmmaker Alain Corneau (Tous les Matins du Monde), who died two weeks after the French release.There’s a cracker of a psychological thriller in Love Crime: imagine the cutthroat, dog-eat-dog world of corporate-ladder-scaling by way of Hitchcock at his most wry and wicked, and that’s how some of the better moments in the film play like. But those are too few and far between, and late writer/director Alain Corneau’s execution is so staid, and stuffy, there’s barely any room to delight in its potentially devious pleasures or forgive the implausibility of its increasingly strained plotting.
Watch Love Crime Movie Online
The third act in particular, featuring a protracted police investigation and prison sequence, sputters with heavily telegraphed predictability when it should essentially knock us out. It doesn’t help that Corneau’s visual sense is a tad misguided: the use of black-and-white flashbacks is clunky (B&W = past!!), while the bleary digital video lensing – which works fine for the banal minimalism of office interiors – makes the film’s thriller portions look pretty sloppy.
Neither of the performances from the two leads are what you’d call "nuanced", but a few sparks are to be had from their overwrought portrayal of the master/protégé-dynamic-gone-wrong. Kirstin Scott-Thomas does her frosty best as Christine, the ruthless company head who manipulates her employees with the cold glee of a sadist yanking the wings off a fly, while Ludivine Sagnier (Swimming Pool) gets the more substantial part, relishing in her character’s descent from an immaculately presented up-and-coming exec to a jittery, near-catatonic pill-poppin’ mess trying to grasp what’s her left of her dignity.
To View The Full HD : free movies online for free
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