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'Gabrielle' takes no prisoners

Compact and gloriously contrary, Patrice Chéreau's "Gabrielle" casts a strange spell.

Based on "The Return," Joseph Conrad's short story about a seemingly perfect marriage coming apart at its seams, the drama centers on Gabrielle and Jean Hervey (Isabelle Huppert and Pascal Greggory), a well-off and very social couple living in Paris circa 1912. Married for 10 years, they've long ago agreed on a passionless union pitched more to the salon than the bedroom. As Jean smugly explains in a lengthy initial voice-over, he chose Gabrielle not out of love but because "she seemed so much the right sort."

IFC Films 'Gabrielle' B The verdict: An intense chamber piece with razor-sharp acting by its two stars. Director: Patrice Chéreau Starring: Isabelle Huppert, Pascal Greggory, Thierry Hancisse, Claudia Coli, Chantal Neuwirth Run time: 90 minutes Release date: July 14, 2006 Language: French with English subtitles Rating: Not rated but there are emotionally intense scenes, sexuality and brief nudity. On the web Official movie site View the trailer    Trailers require Quicktime Rate 'Gabrielle'   Go see it   Make it a matinee   Wait to rent   Don't bother Voter Limit: Once per Hour View Poll Results

By which he means beautiful, sophisticated, charming, intelligent — the perfect decorative hostess for his well-ordered life among others who also seem to be "the right sort." Nor does he feel a need for affairs; twin beds and matching nightstands suit him just fine.

What doesn't suit him is an unexpected transgression by his wife that throws his complacency into free-fall. As they try to sort things out over the next few days — he's more worried about appearances than anything else — the couple face off in a lacerating dance of death worthy of Strindberg. His self-satisfaction is strewn all over their too big house like so much confetti while her dead-eyed compliance becomes more terrifying than comforting.

It's a very theatrical piece, which may explain Chéreau's wrong-headed predilection for cinematic fussiness. The film changes from color to black-and-white and back again for no discernible reason. He uses slow motion, intertitles, a melodramatic score more suited to a silent movie — anything to keep the film from feeling stage-bound.

He should've tried to do less and trusted his lead actors more. Greggory expertly charts Jean's transition from petit bourgeois conformity to a kind of mad desperation. And Huppert remains one of the most remarkable presences on film, here using her enigmatic passivity to enormous effect.

Explosive and intense, melancholy yet sometimes mordantly funny, "Gabrielle" is the sort of picture that takes no prisoners. And offers no definitive answers.