The Accompanist

The Accompanist

In the midst of the Second World War, France was occupied by Nazi Germany. Parisians were deprived of food, warmth and happiness at that time.

Nevertheless, a small number of people still continued to enjoy their life. Irene Brice, an opera singer and her husband, Charles were among these few individuals who did business with anyone. They lived every moment as if it were their last organizing parties within parties; receptions within receptions; recitals upon recital all this from the stage of their opulent apartment.

Sophie Vasseur is a young pianist living in abject poverty with her mother. The kind of life she saw Irene live was unimaginable to her until one day when Madame Brice hired her as an accompanist. Sophie found herself whisked away into another world altogether one filled with riches beyond measure.

However, appearances can be deceiving even here; and so the shy girl who barely spoke above a whisper soon discovered that in fact she could sit quietly unnoticed while everything went on around her.

What she sees and what she thinks about what she sees is what makes Claude Miller’s film so fascinating. This isn’t just some tale about greedy French collaborators during World War II nor is it merely “All About Eve” set against an opera house backdrop (though for awhile it does seem headed that way). No, this movie deals more with how nothing ever really turns out being quite as simple or straightforward as we might think; also exploring why some folks would go any lengths necessary for their own comfort/success but not others’.

The relationship between Sophie (played by Romane Bohringer) and Irene (acted by Elena Safonova) is clear enough. At first we doubt if things are actually this simple but apparently they are: Mme Brice has always been generous towards those who play alongside her hence wants them around all time thus making them feel part of family despite being staff. And so Sophie rarely visits her mother’s cold empty apartment; instead spending most nights at the Brices’ where she might be an employee indeed but treated as one belonging to household.

While deeply appreciative yet conflicted by such treatment accorded upon her, Sophie also nurses mixed emotions towards Irene who seems perfect from every angle beautiful inside out; talented beyond measure plus possessing uncommon wisdom when it comes to dealing with various situations. But whereas Brice epitomizes all these things (and more), Sophie believes none applies to herself except being very good at playing piano which everyone takes for granted anyways. Thus thoughts start taking shape behind those big green eyes while we begin guessing what they may consist of although our guesses could prove wrong in end.

So what is the secret behind success enjoyed within Brice residence? It lies with Charles, husband to Irene and father of Sophie played by Richard Bohringer (Romane’s real-life dad). This man knows no limit when it comes to luxury besides having an uncanny ability of always demanding best from everything around him.

As a matter of fact, he does not mind spending much money as long as quality remains high enough thereby working extra hard during wartime Paris where making fortunes overnight becomes possible only through collaborating with Nazis on one hand or close to impossible without doing so on other hand. Yet there still exists some oddity about Charles’ character; he refuses kissing their boots even going ahead insulting them directly since he understands how valuable his services are thus allowing himself go almost too far in confronting them (a little bit similar situation can be found in Schindler’s List).

Sophie, who witnesses everything there is to see, starts realizing that Irene has been having an affair with a young and handsome man who works for the Resistance. She does errands whose import she can’t but get. She tails her boss. She grasps the relationship’s essence. Affairs among married people in 1940s Paris are not uncommon, of course; such things happen every day but for Irene to be married to a collaborator and sleeping with a member of the Resistance.

Then again, this is what the movie does best: surprise us. There’s none of that clear cut “Casablanca” ethic here. In real life, not everyone in the Resistance is perfect and not everyone in Charles Brice’s position is irredeemable. And there comes a time when Charles realizes absolutely that it’s time for all of them to get out of France, so he moves fast; like any true entrepreneur, he’s a gambler, willing to be rich one day and a refugee the next. After nearly getting killed on their way from there to hereish, they arrive in London, where . . .

It’s Sophie through all of this: learning and growing. She doesn’t make the same mistake twice. Love Irene? Yes. Resent her? Absolutely. Compete with her? In ways Irene can’t even begin to suspect. And when Sophie has an idealistic-romance on the high seas with an almost insufferably pure hearted young man, yes, sure: At some point she must choose between him and her employer (and) then.

It gets so very complicated. That’s why we love it so much! This movie offers no quick Hollywood solutions where good characters are easily distinguished from evil ones nowhere near that simpleminded! No divvying up blame at the end either or credit for that matter! Maybe Miller’s telling a parable and Sophie is Vichy France, living with collaborators in order to survive but remaining vigilant and detached at the same time. Maybe he’s just telling a story where Sophie decides not to force an abrupt change because it’s more fun (and) definitely more cozy to see what happens next from on board.

The performances require our close attention. All three are very complex. There’s a lot going on here. If Irene is more or less consistent and Sophie remains an enigma, Charles is interesting because we can understand why he does what he does. Meanwhile the world’s at war in the background, right? so Charles tries making peace with everybody (anybody?) except himself; will he succeed? Can this be done?, the movie asks us.

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