‘The Crime Is Mine’ movie review: a fun yet poignant French farce
Since the early 2000s, François Ozon has made some of the greatest modern French films, like the comedy musical 8 Women and the erotic thriller Swimming Pool. Exploring a range of genres, Ozon’s output has remained decidedly unique, and in recent years, he has been somewhat prolific, releasing nine films in the past decade.
The Crime Is Mine is now receiving its UK release – despite Ozon’s next feature, When Fall Is Coming, recently debuting at a film festival. While Ozon is producing work at an incredibly fast rate, that somehow hasn’t stopped him from creating movies that are any less interesting. With The Crime Is Mine, the filmmaker has successfully tried his hand at a 1930s-era crime farce, proving his ability to adapt to new genres and time periods with ease.
The movie begins by introducing us to a struggling lawyer, Pauline, who is attempting to hide from her landlord. He comically tries to break her door down before she opens it, leading him to fly through into the apartment. Some might call this clichéd, but it’s clear that Ozon is making a playful homage to certain films from the era that used physical, screwball humour as a main selling point.
We soon learn that Pauline and her roommate, an aspiring actor named Madeleine, have not been able to afford rent. Then, the latter returns home, telling Pauline that a producer, Montferrand, tried to rape her. He had attempted the assault after she defiantly stood in opposition against his suggestion that she become his mistress if she wants to land a role in his play.
Straight away, Ozon lays the themes of the film out on the table. This might be a movie set in the 1930s that strives to emulate various techniques used by filmmakers during this time, but the themes explored are sadly timeless. While the #MeToo movement has exposed Hollywood abuses of power over the past few years – predominantly by powerful male figures in the industry – Ozon’s film emphasises that this has been an ongoing issue since the beginning.
While Madeleine deals with the fact she’s just fought off a sexual predator – and that her boyfriend wants to marry an heiress for money, leaving her to be his mistress – she then finds out that Montferrand has been murdered. Instead of refuting the suggestion that she killed him, she decides, with Pauline as her lawyer, to falsely admit to the crime and frame her defence as a powerful stand against misogyny.
Ozon expertly crafts a narrative that takes the issues at hand seriously, while also imbuing the film with plenty of humour in appropriate places. Thus, The Crime Is Mine manages to strike the balance between exploring poignant topics and also being an enjoyable and fun viewing experience. There is a real emphasis on female solidarity explored within the film, with Pauline and Madeleine showing an unwavering sense of support for each other.
Isabelle Huppert’s eccentric Odette Chaumette, a fading film star, is a particular highlight, with the actor showing her comedic strengths here. Even though she causes initial conflict, Ozon knows that in a film centred around the power of female friendship and support, it would be silly to make her an antagonistic character. Thus, her interactions with the other characters are a joy to watch, and it’s refreshing to see such a display of feminine unity.
Visually striking, with some poignant lines sprinkled throughout (Pauline comments on women being treated like children when it comes to their rights, but adults when it comes to their crimes), the movie proves that a lighthearted movie can still carry significant depth. While The Crime Is Mine isn’t a life-changing, unforgettable movie, it’s a more than enjoyable French farce that harks back to the early days of cinema.
