Murder Party *
by Nicholas Pleskof
French film, 1h30
At the start, everything seduces: a dashing aesthetic fifties mixed with Cluedo even on smartphones, the tender energy of Alice Pol and the intrigue that piques curiosity. Young architect, Jeanne Chardon-Spitzer must present a project for the rehabilitation of her huge family mansion to César Daguerre (Eddy Mitchell), who reigns supreme on the planetary scale on the board game.
For decades, children and adults have grown up with his company’s bestsellers, like “Murder Party.” The patriarch wants to renovate his castle to make it a place dedicated to the pleasure of the game. This project represents a huge contract for Jeanne, a very anxious person who carbides on psychotropic drugs swallowed like candy and who lives with a mother as bohemian as herself. manic watch.
But the young architect’s project did not please César, who offered her a remedial session of Russian roulette: five chances out of six that she would win – or else… This is where the scenario starts to slip. While Jeanne, healthy frightened by this offer, prepares to decamp, Caesar is assassinated. The doors of the mansion lock, and a sepulchral voice announces the rules of the “game”.
The culprit is within the walls of the mansion where all the members of the Daguerre family live, from the sister (Miou-Miou), who sacrificed herself for Caesar, to the second wife (Pascale Arbillot), passing through the great children from the first marriage and the little boy from the second, as well as the servant. Everyone will die if the criminal is not unmasked within twenty-four hours. Any erroneous denunciation will also result in death. Three games, which could endanger the lives of the participants, will help to find clues.
→ PORTRAIT. Eddy Mitchell, our dear brother
The mixture of macabre farce and comedy worn by Alice Pol does not take. The excess of the frame does not help certain actors, like Sarah Sterne or Pascale Arbillot, usually more subtle, to offer a nuanced interpretation. Jeanne Chardon-Spitzer hoarsely denounces the perversity and absurdity of this “Murder Party” without being heard by the other participants, all monopolized, it seems, by their neurotic family faults. A denouement supposed to make sense of all this madness only adds a cruel and insane layer to it.