Can crime ever be a ticket to a better life? In François Ozon’s exhilarating period comedy, it certainly seems to be the case. Madeleine Verdier (portrayed by Nadia Tereszkiewicz), an aspiring actress, stumbles into a terrible predicament following a dreadful encounter with a prominent producer. After sharing her harrowing tale of attempted assault with her confidante and housemate, Pauline Mauléon (played by Rebecca Marder), things take an eerie turn as Madeleine gets entangled in an accusation of the producer's murder. The plot thickens as she confesses to the crime, setting off an engagingly humorous series of events that bring the enigmatic Odette Chaumette (unforgettably performed by Isabelle Huppert), a former silent film actress, back into the limelight.
Returning to his comedic roots with “The Crime is Mine”, Ozon, who has spent a considerable portion of his recent years crafting gripping dramas, infuses the narrative with the breezy charm of 1930's fashion, high-life Art Deco grandeur, and a frenetic judicial system swayed easily by public hysteria. As Madeleine narrates her crime and Pauline defends her, sisterhood and solidarity take center stage, questioning societal constructs that have exploited them. Yet the very cornerstone of their strategy becomes shaky as Huppert’s Odette steps in to claim her share of sisterhood, threatening to unmask Madeleine and Pauline.
Ozon, who also penned the film, masterfully weaves in elements of murder, romance, blackmail, female empowerment, and even a taste of vintage French cinema history into his narrative. The film is an enchanting blend of daring mischief, wardrobe extravagance and luxurious sets reminiscent of a light-hearted version of “Chicago” sans the musical elements. Manuel Dacosse's cinematography, with its palette of pastel hues set against golden tones, creates a picturesque narrative that keeps the audience riveted even when the plot momentarily stumbles.
The leading trio of women brings a vibrant verve to the film. Tereszkiewicz’s Madeleine oscillates between innocence and strategic cunning while Marder’s Pauline puts her persuasive skills to test at every twist and turn. Their chemistry mirrors the dynamic camaraderie of a "Gentlemen Prefer Blondes"-type relationship, replete with subtle hints of deeper affection. Most endearing is Madeleine’s love for the blissfully naive character of Andre (Édouard Sulpice). In contrast, Huppert’s Odette is an unforgettable, flamboyant villain, dramatically dominating every scene she graces.
While Ozon’s “The Crime is Mine” is gleefully frivolous, it masterfully toys with the concept of crime as an improbably amusing life upgrade. Ozon sharply satirizes a flawed justice system, while public opinion paints the deceptive Madeleine into a feminist icon. Tereszkiewicz and Marder delightfully depict their characters’ mischief-laden camaraderie but the show is stolen by Huppert, whose criminal character deliciously upstages every scene she appears in.
