Eva review: Isabelle Huppert reunites with director Benoit Jacquot for this pseudo-sexual noir-ish picture, an erotic thriller without much of the eroticism or indeed thrills.
Eva review by Paul Heath.
We open in a rather swanky apartment overlooking a busy Metro line somewhere in Paris, an ageing English playwright discussing his latest completed work, which lies on the desk before him, to a young man – Bertrand Valade (Gaspard Ulliel, the French actor most widely known for his role as Lecter in Hannibal Rising). Valade is young and attractive and listens intently to the old man who eventually asks him to aid him in getting into a running bath. It becomes immediately apparent, after a sum of money is exchanged, that Valade is indeed a gigolo, there for a very specific purpose, and perhaps not for the first time. However, the old man suddenly dies after asking Valade to undress. Rather than helping his client, Valade chooses to swipe a printed version of the as-yet-unread play (titled ‘Passwords’) and the laptop on which is was supposedly typed, before running off into the Paris night.
Fast-forward 18 months or so into the future and we find Valade being applauded on the opening night of a new play. He is the writer of this new revelation, his debut work, which yes, is indeed called ‘Passwords’ and plays to packed crowds in the capital every night. In the wings is a beautiful young woman Carolin (Julia Roy), Valade’s girlfriend, and his agent who we seem almost immediately asking when his next work will be ready having already been a huge advance.
Of course, ‘Passwords’, unbeknownst to all, isn’t the work of Valade, but that of the now deceased old man, a second work nowhere to be found. Valade, now residing in what looks to be an exclusive pad in the city, is no writer, but does attempt to flesh something out on paper. A new connection with a high-class prostitute named Eva (Isabelle Huppert), of whom he meets whilst on his way to his girlfriend’s family’s snowy chalet in the Alps, gives him sudden inspiration to find a story in their rather unconventional relationship, Valade exploiting the older woman by paying her for her services along the way.
Despite Valade’s constant attempts to make her fall for him, he cannot penetrate her armour. Eva, has her own objectives. The call girl works tirelessly taking in client after client, multiples of whom each day, to earn as much money as possible to go towards freeing her incarcerated husband Georges (Marc Barbe). The film charts this emotional rollercoaster for all involved just as ‘Passwords’ leaves Paris and hits the road for a small tour.
Related: Elle review
Based on James Hadley Chase’s 1945 novel of the same name, Eva is well intentioned and immediately involving – the open scene captures the mood brilliantly – but sadly it’s all downhill from there.
The role of Eva is seemingly perfect for the seasoned and exceptionally talented Huppert, hot following a similarly themed turn in the internationally successful Elle from 2017, but as the film rolls on, one can’t quite help but think that the actress as been terribly miscast in the title role. Eva is also a film which may have suited someone like Verhoeven, its themes echoing the previous work of the Dutch director, but every beat in this work feels like a misstep.
The film is nice to look at – the French Alps providing a lovely backdrop for some of the proceedings – cinematographer Julien Hirsch following up 2016’s Berlinale pleaser Being 17 with more solid work – and Gaspard Ulliel pleasing in a difficult lead, but the narrative struggles to hold for the 100-or-so minutes and there’s little reward when we do eventually get to the closing frames.
The characters themselves aren’t particularly likeable, and there are some twists and turns throughout, none of which are a huge surprise, and then there’s that ending – one that creeps up on you slowly and then completely baffles.
Sadly, all very disappointing.
Eva review by Paul Heath, February 2018.
Eva was reviewed at the 2018 Berlin Film Festival.
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