The films of French director Claude Chabrol are often compared to Alfred Hitchcock’s, and in his film Merci Pour le Chocolat (based on the 1948 novel The Chocolate Cobweb by Charlotte Armstrong) there is a similar level of suspense and craftsmanship.
The film opens with the wedding of Marie-Claire “Mika” Muller (Isabelle Huppert) and André Polonski (Jacques Dutronc). Mika runs her family’s successful chocolate company in Lausanne, Switzerland, and André is a famous concert pianist. This is the couple’s second chance at love. They were previously married and divorced years earlier, and reunited after the tragic death of André’s second wife, Lisbeth, a photographer. Mika’s relationship history with André is the subject of lively gossip at the wedding, with one guest telling another, “She hates losing.”
The couple lives in an elegant mansion in Lausanne with André and Lisbeth’s son, Guillaume (Rodolphe Pauly). Shortly after the wedding, a young woman named Jeanne Pollet (Anna Mouglalis) pays the family a visit. Jeanne was born at the same hospital as Guillaume, and when André came to the hospital to see his wife and child, the nurse mistakenly brought Jeanne to him instead of Guillaume. Although Jeanne’s mother, Louise, insists that the error was immediately corrected, Jeanne is struck by the curious coincidence that she’s a pianist just like André. The purpose of her surprise visit is twofold: she would like additional coaching before an upcoming competition and she wants to see if it’s possible that she and Guillaume really were switched at birth.
André is impressed with Jeanne’s talent and offers to help her practice for the competition. He welcomes the chance to help an aspiring concert pianist since his son Guillaume is not musically inclined. Guillaume, however, is distant, suspicious of Jeanne’s motives for visiting his father. Mika is warm and welcoming, but an incident causes Jeanne to wonder if there’s more to Mika than meets the eye. While admiring some of Lisbeth’s photographs, Jeanne sees Mika deliberately spill a flask of hot chocolate she’s prepared for Guillaume. Jeanne asks her boyfriend Axel to help her investigate Mika and her reason for spilling the chocolate.
As Jeanne becomes more involved in the lives of André, Mika and Guillaume, long buried family secrets begin to emerge and Mika’s behavior grows increasingly unpredictable. Is Mika’s charm and elegance merely masking sinister intentions, and what is in the chocolate she always insists on preparing herself?
At the center of this gripping psychological thriller is a compelling performance by the always wonderful Isabelle Huppert. On the surface, Mika appears to be generous and caring. She opened her home to André, Lisbeth and Guillaume when they needed a stable place to live and she uses the profits from the chocolate company to fund anti-pain clinics. Although her behavior appears to be good, she secretly delights in doing things to catch people off guard, like spilling a pot of boiling water on Guillaume’s foot. Huppert’s performance captures the enigmatic nature of Mika and the compulsions that drive her behavior throughout the film.
Chabrol establishes a strong tone that perfectly fits the plot and characters. The film moves at a steady and deliberate pace as the secrets are gradually revealed. Music also plays an important part in the story and Chabrol’s use of Liszt’s Funérailles is effectively quite chilling.
Hitchcock fans looking for other well-crafted suspense movies should consider trying the films of Claude Chabrol.
Merci pour le Chocolat is in French with English subtitles.
Check the WRL catalog for Merci pour le Chocolat