The locker room of the predominantly female staff in a fish canning factory is the opening scene of this intriguing Canadian French film from director Sébastien Marnier, whose superb cast in the wider story is also predominantly female.
A young woman from that factory, played by the wonderful Laure Calamy, turns up at the home of businessman and old roué Serge Dumontet (Jacques Weber) claiming she is his long lost daughter, Stéphane, from one of his past affairs. She tells Serge that she runs the factory and this initial lie is accepted as her having inherited her father’s business skills. Out of her comfort zone, she finds herself in an ostentatious family mansion full of stuffed animals and other indulgent clutter and is met by siblings George (Doria Tillier) and Jeanne (Céleste Brunnquel) along with stepmother Louise (Dominique Blanc). While literally embraced by Daddy, the women all have a different take on the new arrival in the family – the youngest simply photographs everything, the mother sees a potential carer but George remains cynically unconvinced though never asks this possible cuckoo for DNA or ID.
This claimant has secrets beyond not being a factory manager. She has a lover, scarily captured by Suzanne Clémant as the short tempered passionate inmate, that she visits in prison, adding another layer of intrigue to the film’s already enticing premise. There is talk of a missing brother Fréderic but it remains unclear if he is actually dead or just dead to Serge whose rule is absolute. But is it?
Mystery abounds throughout this meeting of opposites of class and culture in a film billed as a comedy, a genre that’s only flirted with – lines likes Serge casually asking his newly found daughter if it’s she who reeks of fish and Louise correcting her grammar. Never straying far from a light touch despite moments of violence, its comedy is subtle with intrigue taking centre stage as layers of lies, deceit and betrayal are delightfully unpeeled across the 2 hour watch.
It is good to hear Burns’ lyrics to A Red Red Rose (even if sung to a new tune!) in this film that has a shadow of Martin Guerre running through it. Overall The Origin of Evil is an entertaining and engaging comment on the swirling underlying currents in human relationships and family machinations, portrayed with style and panache by the entire cast, that includes Véronique Ruggia as Agnès the long term maid, although Calamy’s flawless performance tops the lot.
A satisfying watch with the message of be careful who you share your secrets with!
Showing Edinburgh Dpminion 14th December
Irene Brown
Radio Summerhall Arts 