Boring

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Francois comes back to his home village in France after more than a decade. He notices that the village has not changed much, but the people have, especially his old friend Serge who has become a drunkard. Francois now tries to find out what happened to him and tries to help him.It has been cited as the first product of the Nouvelle Vague, or French New Wave, film movement. The film is often compared with Chabrol's subsequent film "Les Cousins", which also features Jean-Claude Brialy and Gérard Blain. Perhaps I am mistaken, but "Cousins" is the film that is better known today and more highly praised. But, of course, it was also more expensive to make, so we couldn't have "Cousins" if "Serge" had not been a success.The film initially ran to 2 hours and 35 minutes, though Chabrol cut a great deal of quasi-documentary material to reduce the running time, a decision he later regretted. Where exactly that footage is now, I have no idea, because the version released by Criterion is a modest 99 minutes. This would mean an extra 45 minutes may exist somewhere.

Born in 1930, this contemporary of Jean-Luc Godard, Francois Truffaut and Eric Rohmer really was, like them, a vital part of the French "New Wave"...if only to have helped usher it in via a neo-realist approach. This is Claude Chabrol's first film and it launched him on a career that spanned 40 years and included mostly thrillers, often inspired by Alfred Hitchcock. Other of his notable works include LES COUSINS (1959), OPHELIA (1962), LE BOUCHER (1969) and MADAME BOVARY (1991) An "enfant terrible" and a genuine eccentric, he approached the making of this first film in a way that would later be identified with the "new wave" movement. He used mostly inexperienced actors, crude editing, lots of location filming and imbued it with a sense of spontaneity. Focusing on content over style allowed him to carve out a distinct piece work that is both compelling and a fine study of human nature. From opening shots of pensive lead actor J.C. Brially* riding a bumpy bus into his childhood town to the powerful closing shot of Gerard Blain shocked into sobering up, this film will have you looking at LE BEAU SERGE with adoration. *(Catch Brially starring in one of the finer French horrror films made; LE DEMON DANS L'ILE)

This is said to be the first film of the Nouvelle Vague. I don't see the Nouvelle Vague anywhere here. The distance between Le Beau Serge and The 400 Blows is not one year but an age. Chabrol's first film is like a melodramatic throwback to 19th century naturalism with a touch of redemption, that is, unnaturalized naturalism. Serge and his gang are enslaved by circumstances but his Parisian pal will work hard to bring them hope. It feels as if it had already been outdated at the time of opening and it doesn't look very chabrolian. Not that chabrolian always means "good".I've seen at least as many bad movies by Chabrol as good ones. How could this happen to me? Once upon a time… people used to say he was a legendary master, someone to keep track of. Maybe he was. He has indeed made some masterful pictures in the 1960s-70s and some think he's also made 3 or 4 very interesting films in the last 20 years.Anyway, that's no excuse for all the mediocrity he's churned out so complacently not only during the last 20 years but, as it turns out, since 1958 when he directed this shrill rural drama. There's even a mean priest and, of course, the saviour is a secularized priestly figure, he's devoted to his flock but has sex. As priests go, I'd rather have the uncanny Gerard Depardieu in that miracle Pialat borrowed from Bernanos: Sous le Soleil de Satan.

If this was indeed the first film of the New Wave then it has a lot to answer for. Unless there are other causal influences I don't know about, the New Wave destroyed French cinema. Old wave films like Carné's "The Children of Paradise" (1943), Clouzot's "The Wages of Fear" (1953), and Tati's "My Uncle" (1958) make Truffaut, Renais and Chabrol look earthbound and dreary. As, by and large, they are. (Even in the years after 1959 France's best films had little to do with, and owed little to, the New Wave.) But "Beautiful Serge" is at least a nice little film, only somewhat earthbound, and not so dreary at that.An earlier reviewer has complained about the music; and, indeed, at the screening I attended there were some people up the back determined to chortle at what they perceived to be musical heavy-handedness. A cheap response would be that the film needed SOMETHING to lift it above the level of a 7-Up documentary. A fairer response would be that this is a story in which the theological significance of the hero's actions shines through a mundane surface, and the score serves to express that, too. It's the faint but real sense of fantasy that keeps "Beautiful Serge" very much alive.