Crime is our business: Pascal Thomas handles the art of shifting [critique]

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Crime is our business
StudioCanal

Catherine Frot and André Dussollier lead the investigation on France 3.

On the way to visit Prudence (Catherine Frot) and her husband, Colonel Bélisaire Beresford (Andre Dussollier), Aunt Babette (Annie Cordy) witnesses a crime on a nearby train. If the colonel attaches little importance to this story, Prudence launches into the investigation, being hired by the Charpentier family, whose residence overlooks the place where the body was thrown. She quickly made the acquaintance of Roderick Charpentier (Claude Rich), the father, Frédéric (Melvil Poupaud), Raphael (Alexandre Lafaurie) and Augustine (Christian Vadim), the sons, and Emma (Chiara Mastroianni), the girl. Are they involved?

Released in October 2008 at the cinema, Crime is our business is inspired by the stories of Agatha Christie, borrowing its title and its characters from the collection of the same name, and its plot from the short story The 4:50 p.m. train. Catherine Frost and André Dussollier resume their roles of Prudence and Bélisaire Beresford, which they already held in 2005 in My little finger told methen that they again incarnated in Partners Against Crimein 2021. In the end, the detective comedy by Pascal Thomas will total 1,127,954 admissions in six weeks.

The first appearance of Catherine Frot? It was in Les Charmes de l’été, at 18

At its output, First had spent a good time in front of this investigation full of twists and turns. Here is Véronique Le Bris’s review: A generational filmmaker from the end of the seventies, Pascal Thomas now asserts himself as the man who knew how to restore youth to Agatha Christie. Let’s move on to the plot – a murder has been committed! – to salute the mix of modernity and mothballs that Pascal Thomas achieves. Skilfully wielding the art of shifting, the director manages to reinforce the Victorian aspect of the novels by filming close-ups of decrepit old France castles with a stifling atmosphere, in which voluble or transparent but never innocent characters slide and merge. Thanks to chiseled dialogues, all the performers – even the survivors of L’Heure Zero, another Christie adapted by Thomas – manage to communicate the obvious pleasure they all had in filming this outmoded whodunit.

Partners against crime: Catherine Frot and André Dussollier return to service

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