La veuve de Saint Pierre (2000)

Directed by: Patrice Leconte | 112 minutes | drama, romance, crime | Actors: Juliette Binoche, Daniel Auteuil, Emir Kusturica, Michel Duchaussoy, Philippe Magnan, Christian Charmetant, Philippe du Janerand, Maurice Chevit, Catherine Lascault, Ghyslain Tremblay, Reynald Bouchard, Marc Béland, Yves Jacques, Dominique Quesnel, Anne-Marie Philipe

Movies that promote an anti-death penalty stance are often very gripping, intellectually stimulating, or both. ‘La veuve de Saint-Pierre’ is actually none – or only a little bit – of both, while the film’s solemn, serene style gives the impression of being an intelligent, thought-provoking arthouse film. But aside from some, no doubt, good intentions, and sparks of interesting discussion, the film takes the easy route, turning the “poor” murderer Neel Auguste into a martyr and his “proteges”, Mrs. La and the Captain, righteous , humane people, who initially see as the only one that Auguste is “just a human being” and eventually let the whole nation follow their example. But the reality is somewhat more complicated. Or would this have been.

The film is beautifully photographed, has atmospheric music, and has nice, subdued roles of the three protagonists. Even Emir Kusturica, actually a (celebrated) director and not an actor, is not out of place as the taciturn Neel Auguste. “The case” is just not so convincingly argued by the filmmakers. It’s fine that Neel isn’t portrayed as Evil and that it’s suggested that he might repent or improve his life, but in this case it’s very much going the other way.

His atrocities are hardly considered. In any case, the viewer does not experience the murder itself live. When in a flashback during the trial, together with the words of the perpetrators, it becomes clear what happened, it is in any case clear that it was not an accident, or an unfortunate coincidence. Neel’s mate held the victim as he stabbed him repeatedly himself. The only weak “excuse” presented in the film is that they allegedly did it in a drunken stupor. But even later, in court, they don’t seem terribly sorry for their actions. So far there are few problems, because the moment they appear publicly, in an open car, on the way to prison, the population is delirious with anger and they throw stones at the two. But apart from this incident, everyone is actually remarkably accepting. When he comes to do odd jobs for residents, at the behest of Mrs. La, nobody looks at him and he is not blamed. It is also remarkable that no one seems to miss the victim of the murder. No one is sad or thinks about this brutal murder. And it goes much further: Neel saves a saloon and its owner, falls in love, has a child and gets married and is the hero of the neighborhood. But he is still awaiting his execution.

It may sound like an interesting development and intriguing contrast, but the way in which all this is presented is far too short-sighted and slightly self-righteous. Such awareness (of the population) does not just happen, if at all. In ‘Dead Man Walking’, the victim’s parents remained vindictive, and understandably so, and eventually they could barely accept that a nun wanted to offer the perpetrator spiritual help. There is no development at all in ‘La veuve de Saint-Pierre’. Not even in the person of Mrs. La, whose bond with the detainee is difficult to understand. When she sees the man, actually before that, she already cares about him. She soon invites him to work for her in her greenhouse. But it doesn’t seem to be much more than his own liberal project, for which he happened to be chosen. A cynic might think she doesn’t really care for him, but all of this makes you feel more of a sense of moral superiority over the notables in town.

After further reflection, the only really fascinating aspect, which perhaps could have been explored further, is Neel’s (ultimate) sense of guilt. A sense of guilt that he shows only through his later actions, and communicates indirectly through the captain. He has constant freedom on the island, but even when Mrs. La puts him on a boat and orders him to flee, he doesn’t do it. He returns to receive the punishment for his murder, which he finds unforgivable. Ironically, he’s about the only one who thinks that way. ‘La veuve de Saint Pierre’ basically has very interesting, and very heavy, themes, but unfortunately the end point is mainly looked at without attention to how people should (should) get here. A lot of missed opportunities.