Le Bonheur
My first experience with Agnes Varda’s films last year, “Cleo From 5 to 7,” was the discovery of a new voice I just had to dive into further. “Le Bonheur” is a very different experience, but it’s as precise and profound in how it explores the complexities of women, their relationships with men, and the concept of love. That this is more about a man does not necessarily change that- it just means we’re learning about the women in how they relate to Francois, the main character of the film.
When we first see Francois (Jean-Claude Drouot), his is on a Father’s Day picnic excursion with his wife, Therese (Claire Drouot) and their two children, in a meadow near her parent’s house. They have an idyllic marriage, and he is very happy, as is she; we do not get any indication that either is unhappy. We see their everyday lives, as he works construction in the city, and she looks after the kids and sews, including dresses. One day, Francois goes to make a phone call at a nearby post office, and he sees Emilie (Marie-France Boyer), a postal worker. She’s friendly, and he’s friendly. They have coffee, and then, they fall in love. Does that mean that Francois no longer loves his family, though?
“Le Bonheur” means “happiness,” and that is something Francois has an over-abundance of in his life. When we see infidelity in movies, it’s usually because one character finds themselves in a rut, or neglected, in their marriage. Usually, there is a catalyst for the cheating. That, in and of itself, makes this a unique take on marriage and infidelity. Varda does not endorse what Francois and Emilie are doing, however; just shows that it happens. There is a visual similarity to Emilie and Therese, so one can make the case for Francois having “a type” he is attracted to, but this about how two situations, diametrically opposed to one another, can bring happiness to the same life. This film bucks many of the cliches we’ve seen in these films simply by having Francois be every bit as affectionate with Therese as he is with Emilie. Does that make it right? Varda isn’t going to take sides. We do see what happens when Francois decides to be honest with Therese, however; what happens after that is a reflection of how complicated and sad life can be, while also opening a possibility to future happiness in light of personal tragedy.
This is a beautiful film, not just to look at, but to experience from an emotional standpoint. The use of classical music can be a bit insistent at times, but the sensual nature of the relationships, the way she builds the characters and narrative simply, but with depth, is something that connects here, as it did in “Cleo From 5 to 7.” In “Le Bonheur,” we feel an innate affection for these characters, even if they do something our own personal morality cannot endorse. That’s the power of film, and from these two experiences, it feels like something Varda understood profoundly.
