This film is set in 1934 in rural France. The bus we see at the beginning indicates Dijon as its destination, and indeed the credits show that the film was actually made in a place called Cheuge which is about thirty kilometres north east of the city and on a canal. The church of this village is instantly recognizeable and is seen quite often throughout the film. Dijon is in the "Côte d'Or" department (21) and forms the north part of the region of Burgundy. La Veuve Couderc lives alone in a farmhouse and is at loggerheads with her inlaws who live on the other side of the Canal. One of the inlaws spends some time with her and some time with the other side. Enter an escaped prisoner ( Delon ) under the name of Jean Lavigne who helps Couderc carry an egg hatcher to her farm. She then invites him to stay for a few days there and gives him work to do in the fields and on the farm. She also feels a certain attraction towards him. This suits him as it is a good hiding place. He also has a brief affair with a young lady from the family of the inlaws who has an illegitimate child. This annoys Veuve Couderc who is jealous. But the inlaws don't like Lavigne's presence at the farm, build up a case against him, denounce him to the local police who enter the farm at daybreak to "take him out". The film is an excellent portrait of French country life and also denounces the most abject side of the French character - that people are dishonest, hypocritical and ready to denounce you to the authorities - something we saw a lot of in Word War II when numerous French people denounced Jews and other undesirables to the authorities who treated them worse than the occupying Germans and deported them to Labour camps. Some people may well find the film slow and boring and quite honestly, if I did not live in France and know something about the country, I probably would. But I ended up liking it surprising enough. You really feel, hear and almost smell the Burgundy countryside. The theme music by Philippe Sarde is magnificent and I especially liked the music from Le Bal and the way the village dancers were filmed. As there are no comments on the film in IMDb, I assume it is totally unknown outside France or at least has not made an impression on anyone. The principal actors, Alain Delon and Simone Signoret, are nevertheless two of France's greatest actors. The final "shoot-out" also generates a certain amount of suspense. The fact that the film is slow-moving, the paucity of the dialogues etc etc probably help to explain why abroad the film is not too well-known. By today's standards, it certainly seems slow !
16 Reviews
A highly unusual love story
FilmCriticLalitRao10 September 2008
Pierre Granier Deferre is a famous director of thriller films.Apart from scoring admirable box office success most of his films have also been hailed by critics.In the history of French cinema it can be said that "La Veuve Couderc" will be hailed as one of the most successful adaptations of a George Simenon novel.It is a film in which nothing is left to chance.As there is a strong emphasis on the portrayal of characters both small and large,we get to see some remarkable acting performances.Much of the film's brilliance comes from its portrayal of a French village.It is a nice thing that Pierre Granier Deferre has covered every minute detail of French provincial life.Alain Delon and Simone Signoret appear wonderful as ill fated lovers who revolt against old fashioned values of French society.La Veuve Couderc is a film for those people who value the importance of love.In many ways it is similar to Ali fear eats the soul directed by Fassbinder.
Actors melt into the French countryside
raymond-10613 January 2010
Warning: Spoilers
Being a tutor in French I found this film now almost 40 years old fresh and appealing.The director's hand is evident in every little detail. Two bickering families living on opposite sides of a canal with a drawbridge that had to be raised with every passing barge created the unpleasant atmosphere of harsh words and bitter remarks. It's a wonderful setting of simple pleasures like scything the grass and feeding the hens and chopping the wood and filling the lamps with kerosene. Simone Signoret as the bitter widow Couderc who claimed she had to do all the work around the place was most convincing in her role as she went about her daily chores. Even her walk to the bus showed a certain animosity. She was indeed an unhappy creature yearning for love.
How fortunate for her that Jean a handsome prison escapee(Alain Delon) happens along to lend a hand in running the farm and eventually comforts her in her bed. Jean proves to be a real handy man when he sets up an egg incubator to provide lots of chickens in the future. The incubator plays a pivotal role in the whole story. It can be said that the story began with the incubator and ended with the most tragic consequences.
As much as I loved the story the overwhelming quality of this film was the sight and sounds of the village atmosphere and how well the actors melted into the daily living. I have never lived in a French village but what I observed in this film seemed pretty authentic to me.
The plot takes a nasty turn when Jean's presence is reported to the police by a couple of the spiteful villagers. Excitement takes over as the chase to capture him runs to a thrilling climax. I did wonder though why so many police were involved in his capture. A little bit over the top, methinks, but great for a dramatic finish.
How fortunate for her that Jean a handsome prison escapee(Alain Delon) happens along to lend a hand in running the farm and eventually comforts her in her bed. Jean proves to be a real handy man when he sets up an egg incubator to provide lots of chickens in the future. The incubator plays a pivotal role in the whole story. It can be said that the story began with the incubator and ended with the most tragic consequences.
As much as I loved the story the overwhelming quality of this film was the sight and sounds of the village atmosphere and how well the actors melted into the daily living. I have never lived in a French village but what I observed in this film seemed pretty authentic to me.
The plot takes a nasty turn when Jean's presence is reported to the police by a couple of the spiteful villagers. Excitement takes over as the chase to capture him runs to a thrilling climax. I did wonder though why so many police were involved in his capture. A little bit over the top, methinks, but great for a dramatic finish.
Rural thriller
dbdumonteil16 July 2008
At the time ,French cinema was updating the rural thriller ,a genre which had begun in the late thirties/forties with such works as "Goupi Mains Rouges" "l'Assassinat du Père Noël" or "la Ferme aux Loups".The early seventies began with Granier-Deferre's "La Horse " (Gabin) and continued with another Granier-Deferre (this one) as well as with "L'Affaire Dominici" (Gabin) and "Les GRanges Brulées" (Signoret and Delon teaming up again).
These movies from the seventies were more realistic ,more "precise in their depictions of rural life than those released earlier."La Veuve Couderc",like one of his precedent movies ("Le Chat" also feat Signoret) was first a novel by Georges Simenon.In France ,people were amazed to see Delon playing opposite Signoret ,but most of the actresses Delon played with in the seventies ,with the exception of Romy Schneider or Jeanne Moreau,were starlets.There was really a special chemistry between them which was not as effective in their later effort "les Granges Brûlées" .Both are well cast,Signoret as a strong middle -age peasant woman and Delon as the fugitive .
Granier-Deferre helped pave a way to a new "Cinema de Qualité" which made us forget the pretensions of the new wavelet.
These movies from the seventies were more realistic ,more "precise in their depictions of rural life than those released earlier."La Veuve Couderc",like one of his precedent movies ("Le Chat" also feat Signoret) was first a novel by Georges Simenon.In France ,people were amazed to see Delon playing opposite Signoret ,but most of the actresses Delon played with in the seventies ,with the exception of Romy Schneider or Jeanne Moreau,were starlets.There was really a special chemistry between them which was not as effective in their later effort "les Granges Brûlées" .Both are well cast,Signoret as a strong middle -age peasant woman and Delon as the fugitive .
Granier-Deferre helped pave a way to a new "Cinema de Qualité" which made us forget the pretensions of the new wavelet.
Delon and Signoret - some combo
blanche-229 January 2017
Warning: Spoilers
"The Widow Couderc" from 1971 is a moody, atmospheric piece set in the French countryside post-World War I, starring Alain Delon and Simone Signoret. An odd coupling considering Delon starred with so many va-va-va boom types. Nevertheless, their teaming works well.It is directed by Pierre Granier-Deferre.
Based on a novel by George Simenon, Signoret is the widow Tati, who runs the family farm. Her father-in-law lives with her. Across the way are her sister-in-law and husband, who hate her and would do anything to get the farm away from her. Living with them is their daughter Felicie, a young girl with an illegitimate baby.
One day a handsome stranger arrives in the area, and the widow hires him to do some work on a temporary basis. It's not long before they become lovers. Little does she know he is an escaped prisoner, Jean Lavigne. Jean notices the nubile Felicie, which makes the widow jealous. Jean and Felicie eventually become lovers as well.
However, anxious to get the farm, the widow's family wants anything on him that they can get, and encourage the father-in-law to talk and Felicie to snoop around.
This is a tragic story with a vivid look at both farm and village life, and we can see the life of the widow, which is all farm work, and the flippant youth dancing in the village. One gets the impression that her life has been nothing like this as married due to pregnancy, the baby died, and apparently she was raped by her father-in-law, who during the film tries to get into her room when she goes to bed. It also appears that sometimes she lets him in, which is indicative of her loneliness. The village women don't seem to know or want to know her, and when Jean moves in, there is a lot of gossip.
What sets this film apart is the detail of the farm work and life in the village and the spare dialogue. I can't see the pace of this going over well with American audiences. The build up is slow; the final scenes are devastating.
Signoret is excellent as a vulnerable woman with a tough exterior, protecting her farm as well as herself. Delon is wonderful as a quiet man who inveigles himself into the life of Signoret. I was so happy when he shaved the mustache. When he goes to the village dance, all spiffed up with no mustache, wearing a suit jacket, and with his hair slicked back, he looks like an Italian Vogue model. There is certainly something about the way he smokes a cigarette and tosses it away - he indeed is the essence of smooth and cool.
The end has something written about Jean Lavigne that is so convoluted - I would love to know what it actually said.
Highly recommended. Someone said the companion film on the Delon disc, Diabolically Yours, is better. Can't agree. This film is superior.
Based on a novel by George Simenon, Signoret is the widow Tati, who runs the family farm. Her father-in-law lives with her. Across the way are her sister-in-law and husband, who hate her and would do anything to get the farm away from her. Living with them is their daughter Felicie, a young girl with an illegitimate baby.
One day a handsome stranger arrives in the area, and the widow hires him to do some work on a temporary basis. It's not long before they become lovers. Little does she know he is an escaped prisoner, Jean Lavigne. Jean notices the nubile Felicie, which makes the widow jealous. Jean and Felicie eventually become lovers as well.
However, anxious to get the farm, the widow's family wants anything on him that they can get, and encourage the father-in-law to talk and Felicie to snoop around.
This is a tragic story with a vivid look at both farm and village life, and we can see the life of the widow, which is all farm work, and the flippant youth dancing in the village. One gets the impression that her life has been nothing like this as married due to pregnancy, the baby died, and apparently she was raped by her father-in-law, who during the film tries to get into her room when she goes to bed. It also appears that sometimes she lets him in, which is indicative of her loneliness. The village women don't seem to know or want to know her, and when Jean moves in, there is a lot of gossip.
What sets this film apart is the detail of the farm work and life in the village and the spare dialogue. I can't see the pace of this going over well with American audiences. The build up is slow; the final scenes are devastating.
Signoret is excellent as a vulnerable woman with a tough exterior, protecting her farm as well as herself. Delon is wonderful as a quiet man who inveigles himself into the life of Signoret. I was so happy when he shaved the mustache. When he goes to the village dance, all spiffed up with no mustache, wearing a suit jacket, and with his hair slicked back, he looks like an Italian Vogue model. There is certainly something about the way he smokes a cigarette and tosses it away - he indeed is the essence of smooth and cool.
The end has something written about Jean Lavigne that is so convoluted - I would love to know what it actually said.
Highly recommended. Someone said the companion film on the Delon disc, Diabolically Yours, is better. Can't agree. This film is superior.
Hell hath no fury like a widow scorned...
JasparLamarCrabb26 November 2018
Warning: Spoilers
Pierre Granier-Deferre's tightly wound drama set in the French countryside features some great acting from stars SImone Signoret and Alain Delon. Delon, a fugitive on the run, is hired by widow Signoret to work her farm. Signoret's awful in-laws cause a lot of problems...wanting Delon gone and wanting Signoret's land. Mayhem ensues. Signoret portrays pent up frustration like nobody else and Delon is both oily and undeniably attractive. They're very good together. Granier-Deferre keeps the tension high as these two tangle, falling in and out and in out of lust. A much unheralded film based on a novel by Georges Simenon. With Ottavia Piccolo as a very unstable nymphomaniac.
Delon is Indelible, As Usual
Pamela-520 November 2007
The person who wrote that she (?) thought that, perhaps, no one in America had seen this film is wrong! I saw it in Los Angeles when it first came out, in the early '70s. Granted, it did not leave a great impression upon me. What left a great impression upon me was, bien sur, the wonderful Alain Delon. Sigh. Sorry! Can't help it! I will remember everything he was in until the day I die! After seeing this film, I remember afterwards, recollecting the scenes with him and the younger gal with whom he was dallying, and thinking, "That actress should PAY to play that role!" Again, sorry! Of course, Signoret was fantastic, as she always was.
Widows Might ....
writers_reign13 October 2010
Warning: Spoilers
This is a mood piece verging on Checkov-lite that lays out its effects like pieces of a jig-saw puzzle - the floor-standing clock prodigal with precious time, the scything, the hewing, the raising and lowering of the bridge, the local bus - and then assembles them meticulously and lovingly into a time-capsule of rural France. In the early seventies the writer director enjoyed a good run including a remarkable trio of consecutive splendour via La Horse, Le Chat and this one. Signoret and Delon represent not only different generations but different acting styles and what could have been a car crash of epic proportions is instead a bittersweet blend of heady wine that leaves a pleasant aftertaste. We have, of course, been here before - Goupi Mains rouge set the bar back in the days of the Occupation - but then we've been everywhere, Man, cinematically speaking and just because I've spent one April in Paris doesn't mean I'm replete and have no eyes to return. This is an exceptional film and almost fit to be mentioned in the same breath as Le Grand Chemin it certainly belongs in any self-respecting collection of French movies.
Def worth the watch
whiterabbit0621 September 2019
Lost seventies atmosphere
searchanddestroy-129 September 2022
This is my favourite from Pierre Granier Deferre, besides LA HORSE, LE TRAIN and LE CHAT. The story itself, the topic is not so unusual, only the character study and relationship is riveting. Watch out for the lines between Simone Signoret and Alain Delon, before the other film they make together two years later: LES GRANGES BRULEES. This movie is adapted from a George Simenon's book, which I have never read, but this film is poignant, sad, downbeat, in the seventies fashion. Simone Signoret is here at her peak, as powerful as she was in LE CHAT, the very same year, this mature lady, so rough from the outside, who refuses to admit her love for Delon. Two so different people, the escaped convict and the widow, surrounded by nasty folks who don't understand them and wish them the worst. Two aginst the whole world. So subtle, everything unsaid is more convincing than any words or even acts. A strong story telling.
Very slow and deliberately paced.
planktonrules3 February 2013
"La Veuve Couderc" comes on a disc that also includes one of Alain Delon's very best films, "Diaboliquement Vôtre"-- truly terrific suspense film. While "Le Veuve Couderc" is not nearly as good, as long as you're watching one of the films, you may as well watch the other. However, just be forewarned that "Le Veuve Couderc" is MUCH slower and may be too slow for some audiences.
The film begins with a middle-aged woman (Simon Signoret) being assisted by a traveler (Alain Delon) to carry her new incubator back to the farm. He asks if she has more work and she hires him without knowing more about the man. The widow turns out to be a rather sad character with a sad past--though she doesn't dwell on this. She also has some in-laws that give her no end of trouble. What about Delon? See the film and find out more about the stranger.
As I mentioned above, the film is pretty slow. It's well acted BUT perhaps the acting is, at times, a bit too muted. I would have loved some more energy in the film. This doesn't mean you shouldn't watch. It also didn't help that you didn't feel much connection with the characters.
By the way, although you probably won't care, the history teacher in me was a bit annoyed because Félicie's hairstyle is NOT period--she looked to be from much later. It's a little thing but I am surprised they didn't catch this.
The film begins with a middle-aged woman (Simon Signoret) being assisted by a traveler (Alain Delon) to carry her new incubator back to the farm. He asks if she has more work and she hires him without knowing more about the man. The widow turns out to be a rather sad character with a sad past--though she doesn't dwell on this. She also has some in-laws that give her no end of trouble. What about Delon? See the film and find out more about the stranger.
As I mentioned above, the film is pretty slow. It's well acted BUT perhaps the acting is, at times, a bit too muted. I would have loved some more energy in the film. This doesn't mean you shouldn't watch. It also didn't help that you didn't feel much connection with the characters.
By the way, although you probably won't care, the history teacher in me was a bit annoyed because Félicie's hairstyle is NOT period--she looked to be from much later. It's a little thing but I am surprised they didn't catch this.
seductive
Vincentiu19 June 2014
Simenon adaptation, it is remarkable for the lead actors performance. for the images from a France who seems be lost today. for the force of message. and, sure, for the silence slices. a beautiful film, splendid artistic duel between Simone Signoret and Alain Delon, bitter, cold, fragile, delicate, demonstration of high talent and wise discover of story nuances. a young man, a middle age widow and few days. a love story in different form , not just as forbidden one but as image of a fundamental change. one of films who can seduce the viewer not for story or for acting but for something who defines the frame of details. a reflection support. and one of really good acting demonstrations.
Too late for Signoret
SixtusXLIV28 July 2013
This movie is a miscast for both Signoret and Delon. I can understand that Signoret, needed the money and took this option. THere is nothing wrong with that. As for Alain Delon, who performed in "Cercle Rouge" made in the previous year, by Jean-Pierre Melville. This is an almost a replay. And a bad one. Mr. Pierre Grasnier Deferre is a second (if not third) rate French Director. I never read the novel by Simenon. I do not believe he is the culprit, but I admit I can be wrong. You want more lines. Here They are. Octavia Piccolo has a child and breast feeds him. The movie shows Virgin nipples. Pierre Grasnier Defferre never knew a virgin. Maybe he likes widows. Nothing wrong.
Dreary, uneventful film (until the last 10 minutes)
gridoon202424 November 2019
Wow: Delon, Signoret, Simenon - and it's an almost total dud. Virtually not a single thing happens for the first 75 minutes of the movie. No, scratch that: Delon sports a terrible moustache in the first half, but he later shaves it off; that IS an important moment. Even the title is uninviting. * out of 4.
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