I love films from the 1930s. They were shockingly bold, and most of them were ahead of their time. A few years ago, I realized I had not seen a lot of films from this decade. I remember my grandma would always watch Busby Berkeley films when I was a young kid, but beyond that, I had a big gap of that decade in my repertoire. So over a period of a month, I binge-watched films like “Grand Hotel,” “Baby Face,” “Morocco,” “Stage Door,” and “Design for Living.” It wasn’t the dance routines that stayed with me in these films, it was the leading actresses’ performances. They showed a confidence and sophistication, but also they revealed raw edges through their black and white tones. Their gorgeous tailor-made clothes were an extension of their strong characters. For example, who can forget Marlene Dietrich in a tux in “Morocco” with that hat, and that kiss?
“The Crime is Mine,” directed by François Ozon, brings me back to those 1930s films, which resonate because of their strong female characters. The film’s strong cast of women bring that same wit and appeal as Barbara Stanwyck, Miriam Hopkins, Marlene Dietrich, and Greta Garbo. The film takes place in the 1930s and stars Nadia Terezkiewicz, Rebecca Marder, and Isabelle Huppert. It is about a struggling actress named Madeline (Nadia Terezkiewicz), who gets entangled in the murder of a film producer, and is then put on trial for the crime. Her roommate and best friend Pauline (Rebecca Marder), an unemployed lawyer, decides to represent her friend in this murder trial. The two decide that the trial will be Madeline’s stage, upon which she will give the best performance of her life. From there, she gains fame, and stability for Pauline. After the trial wraps up, Odette (Isabelle Huppert), an aging 1920s silent film star, wants to also cash in on the murder of this producer. What ensues from there is pure comic gold.
The film has some similarities to “Chicago,” but I’d like to think of it more as a feminist film inspired from those pictures of the 1930s. These female characters show the humor of women finding creative ways to emancipate themselves from the patriarchy during this time. I had the opportunity to interview Nadine who plays Madeline about this film. She said, “Of course a lot has changed for women since the 1930s, like women didn’t have a checking account, and people like Paulin, could not have ever been a lawyer. So a lot of things have changed, but there is still a lot of change that needs to be made for equality.” We spoke about how comedy, more than any other genre, can bring us deeper into themes like the need for equality and women’s rights. Just like those films from the 1930s, I feel “The Crime is Mine” is on its way to become an ageless classic.
“The Crime is Mine” comes to theaters on December 25th in New York, Los Angeles, and Chicago, followed by national expansion. In Chicago you can watch the film at the Music Box Theater starting Christmas Day.
How did you come to this role?
François, the director, held an audition for casting. I’ve been watching his movies ever since I was a child, so to get this role meant so much. I honestly haven’t done too many films, and the ones I have were mostly dramas. I knew that to do this role would be a great opportunity. When I read the script, I thought it was so funny and I loved it so much. I knew it would be really exciting, as an actor, to work with the quick dialogue and the rhythm. And I loved the fact that the film takes place in the 1930s, but at the same time, feels so modern. I did many rehearsals for the audition, and I asked François one day, ‘When do I know if I got the part?’ He said, ‘Now.’ I was just like, ‘Okay,” but my heart was singing inside. I was ecstatic. I was so happy to work with him because he is great with actors, and he loves actors. Also, there’s something so exciting about doing a comedy in the 1930s, in this time of cinema, and at the same time, he brings something deep to comedy. I believe if the film wasn’t based in the 1930s, it wouldn’t be as funny. But the distance allows us to think about it more and let it sit with us.
I was curious if you took any inspiration from classic movies of the 1930s?
There was this movie, “Baby Face,” with Barbara Stanwyck. I loved that movie and it really inspired me. François showed it to me. There was also all the Ernst Lubitsch comedies. Miriam Hopkins in “Design for Living” inspired me a lot. It was important that we saw a lot of movies from that time period, so we could understand how women were at that time, even in their posture and mannerisms. For example, Miriam Hopkins can be very impish. This felt really modern, and I was shocked by the modernity of Marion. She allowed herself to do so many things in the looks she had with her male costars, and the modern idea of being with two men at the same time. It was really shocking to me.
How do you see this film today through a post-#MeToo lens?
In the trial, my character Madeline says, “Could it be possible in 1935 for a woman to conduct her career and her life without constraints, with full freedom and full equality?” When I said the line in the trial scene, I noticed the female extras who were around me. When they were watching me say that line, they all seemed moved and got emotional. I could have said that line in 2023 and would have received the same reaction as in the 1930s. This was an amazing feeling, because for a minute, it seemed like they forgot they were in a movie.
Of course, a lot has changed for women since the 1930s, like women didn’t have a checking account, and people like Pauline could not have ever been a lawyer. So a lot of things have changed, but there is still a lot of change that needs to be made for equality.
To have a film with two female leads during this time period that hold sorority and a sisterly bond between each other is inspiring.They come together because they want to escape their circumstances and emancipate themselves from the patriarchy. It was empowering to see how far they get by coming together. Madeline understands when she is at the trial that she can have a political voice and that she can make real change for women. It’s like a collective emancipation.
This was really important for me. I believe that cinema can change things and make people think. I try to be engaged in my work. I feel that when I choose a role, what I represent has to be important because it’s an engagement with the audience and can speak to women from different generations. So I really take it as a responsibility, and that’s why I feel playing this role was really important.
What was it like working with Rebecca Marder and Isabelle Huppert?
Rebecca and I became friends while we made the movie. There was a spark between us when we did the first reading in the audition. We knew that it would work with us together. It’s crazy because we are so different. She comes from the theatre, Comédie-Française. She worked there for seven years, and I’ve never done theatre. She was a great scene partner and took me into the rhythm of the comedic dialogue.
And then we were with Isabelle Huppert, who is the greatest actress in Paris. She is actually so funny. I didn’t know she was that funny. And she is curious about everything she sees in art, politics, and just in the world. She supports everybody and is really noble in her way of being. She is also an amazing person to be around. I actually saw her yesterday at a film festival. We took a lift together up in the mountains. In the lift, we were just laughing and laughing. I thought, ‘Oh my god, it wasn’t fake, we kept this thing!’
What was it like wearing Pascaline Chavanne and Constance Allain’s costumes?
We actually worked on the costumes for two months. It was real work. With Pascaline, we tried thousands of things. She tried every dress on me, and then she made the dress on me. She’s an artist and she has worked with François for years, so she knows exactly how he works. For me, it was an amazing experience because wearing the costume is when you find the character. It is so important, and it was really a part of the artistic process.
What do you hope people see in this film?
Well, I hope they will have fun and that it can be an escape into another time. I believe comedy can be a lens to talk about deep things. I hope people will get this idea of equality, but also have fun watching the film.
