The Swindle [1997]

 The Swindle, despite being a seemingly lighter work in Chabrol’s filmography – relatively speaking, that is –, grabs one’s attention with its amoral protagonists, slippery motivations, sly asides, and a narrative laced with ambiguous identities and deception. However, what made it particularly enticing, were its two central performances. Isabelle Huppert – in a more playful collab with Chabrol, coming in between her more diabolical turns in La Cérémonie and Merci pour le Chocolat – was enchanting as Betty, a woman assured of her powers as a seductress, while Michel Serrault mellowed his character Viktor’s underlying cunning with endearing self-effacement. Together they’re professional con-artists, who expertly plan and coolly execute their jobs while avoiding suspicions, and pursue opportunities in a manner that caution and prudence always take precedence over reckless greed and immediate returns. We’re never sure of their individual and shared backstories, nor do we get a clarity on their relationship – father-daughter, platonic lovers or purely “business partners” – which added layers of ambivalence to the proceedings. The film began by jumping straight into action, as we see the pair smoothly pulling off their latest job at a business conference in a Swiss hotel, with Betty first seducing a hapless man into her sultry charms, and Viktor then robbing him just enough to avoid scrutiny. Their decision to remain under the radar, however, is undone when Viktor gets drawn by Betty – despite his reservations – into a high-stakes scheme involving a shady courier (François Cluzet) working for a dangerous money-launderer. Though the film lost some of its fun and sauciness towards the last third, the wry equation between the two leads and deadpan celebration of their unscrupulous chicanery made it amusing, mischievous and entertaining.

Director: Claude Chabrol

Genre: Thriller/Crime Comedy/Heist Film

Language: French

Country: France