Les Cousins

The Obstacles between Man and Woman

French new wave film Les Cousins by Claude Chabrol delivers bold and dramatic symbols of interpretation— the obstacles between a man and a woman. Although the relationship between Charles and Florence is merely a supportive theme in the overall goal of illustrating the failures of a countryman’s hopes in a city, I found myself drawn to it.

The way in which they meet is the least memorable scene. They cross paths in a pub. Here the viewer is only exposed to a brief dry conversation initiated by Charles. It is quickly distracted by the other occurrences at the bar. This scene is constantly cut as it offers other occurrences at the same time. However, this distraction would appear minor compared to the future interactions between Charles and Florence.

During a party scene, later in the film, the obstacles between Charles and Florence are more pronounced. Their placement with in the mise-en-scene illustrates these bold obstructions. Once they finally meet again at this party they find themselves divided by a tall-metallic fireplace that they literally have to move around to connect. They also experience this just outside of the apartment at a tree. Once they make it around the tree, although their conversation is shot in medium to close up, their responses are delivered in a series of pan shots. There is always an obstacle between them even if it is negative space.

Obstacles evolve into personifications as Charles attempts to get Florence alone in a car ride. They are interrupted by Paul, Charles’ cousin, and his wild party guests, as they run out from the party to join them in separate cars. By the time Charles and Florence reunite again they are divided by bars and dark stripes.

Whether they are on the terrace where Florence is sun bathing or showering with Paul (her new discovered lover), the obstacles increase in scale and significance. Even the ending of their relationship is intensely dramatic.

During the last party scene they are further interrupted by guests. As they enact the final argument which severs any possibility of them uniting, Charles pushes her out of his room. As the mirrored door closes his reflection is yanked away by the door's abrupt pivot. These symbols which are created by direction, cinematography and mise-en-scene create an obvious composition of destiny. Charles and Florence were never meant to be.