The Crime Is Mine ★★★★

Released: 18 Oct 2024

Director: François Ozon

Starring: Isabelle Huppert,  Nadia Tereszkiewicz, Rebecca Marder, Fabrice Luchini, Dany Boon, André Dussollier, Édouard Sulpice

Crime doesn’t pay says the popular idiom but this is a theory put to the test in François Ozon’s latest The Crime is Mine. Set in the 1930s, this is an entertaining, colourful dramedy following the exploits of aspiring actress, Madeleine Verdier, played by a dazzlingly, mesmerising Nadia Tereszkiewicz (previously seen in Rosalie and Only The Beasts), who solely becomes famous, or infamous, after being embroiled in murder! The Crime is Mine simply erupts with an effervescent, old-fashioned charm and is a delightful mise-en-abyme to watch!

Loosely based on the 1934 play Mon Crime by Georges Berr and Louis Verneuil, The Crime is Mine highlights the underbelly of being a celebrity and the surrounding media circus and theatrics. Such theatricality underlies the melodrama within the film as Madeleine performs in the role of her life, in front of the court system in pleading her innocence. Madeleine and her best friend Pauline Mauléon, after being impoverished young women, with five months’ rent arrears, are within fledgling careers as an actress and a lawyer. Obviously, Pauline comes to Madeleine’s defence as they are wittingly thrust in to the spotlight, attempting to navigate patriarchal systems in their favour.

Often pitted against each other in many films as the serious brunette and flighty blonde bombshell roles. Ozon’s film subverts those stereotypes, presenting a solid portrayal of female solidarity via Madeleine and Pauline in the face of adversity. Indeed, Ozon has adopted a feminine gaze within The Crime is Mine with these leading female roles, which may be likened to his other films such as 8 Femmes (Eight Women). Similarly both films examine the roles of women within crimes of passion and create a support network. Comparisons may also be made to recent films like Wicked Little Letters which dissect the inept criminal procedures in place historically which would implicate women immediately as perpetrators of a crime without undertaking due process.

In spite of a frothy demeanour, The Crime is Mine embraces substantial themes including workplace harassment, which could be Ozon’s intention to address the #MeToo movement within the acting industry. Pauline and Madeleine encounter flirty men craving Madeleine’s attention and the women quickly learn the requisite steps to cajole and flatter accordingly. The film does appear to be a commentary on the societal preference for a dramatic flair as the court process itself, with a pantomime judge, resembling a stage on which to perform and convince others. Recently, there have been court based films that have captivated audiences such as Anatomy of a Fall. Therefore this may be Ozon’s indirect criticism of that heightened sense of drama and spectacle that televised court cases now provide the viewing public!

Whilst Madeleine and Pauline are young and learning the extent of their feminine charm they are no match for the older actress Odette Chaumette who crashes on to the scene, played by Isabelle Huppert with an intriguing accent and a commandeering stage presence. Odette was a silent cinema goddess and several characters reminisce about her pivotal role in the historic film The Magic Flute, but she had faded into obscurity and is keen to remain relevant. Ozon is therefore also making the point about the scarcity of good acting roles for older actresses. The question therefore arises whether there can be a happy medium between the newer generation of actors and those that are highly experienced and The Crime is Mine offers an enjoyable solution to that conundrum.

It would be remiss not to mention the costumes within The Crime is Mine which are just as remarkably exquisite as the performances. Embodying that sense of theatre, it is unsurprising that the film was nominated for the 2024 César for Best Costume Design. Pauline’s clothes are modern and practical to reflect her persona. For Madeleine, there are striking, figure hugging dresses ensuring that she epitomises the breath-taking leading lady with a combination of innocence and seduction. As for Odette, her costumes are a timeless blend of theatre personifying that golden age and were modelled on Sarah Bernhardt’s costumes. Ozon and the costume designer have therefore ensured that The Crime is Mine is also a sumptuous, visual treat for the senses.

This is another star making performance from Terezskiewicz, after her intoxicating turn as Rosalie, and she effortlessly displays a tremendous range going from being depressed to euphoric as Madeleine. She is perfectly cast as Madeleine and holds her own against French acting heavyweights such as Huppert, Dany Boon et al. This slapstick crime caper is a good entry in this canon alongside See How They Run but with a French interpretation, bien sûr! Amusingly dramatic and cynical from start to finish, The Crime is Mine is unafraid to flounce around theatrically to convey its message as after all, the world is a stage and we are merely the players!