“You can’t explain happiness.”
Based on a Simenon novel, Love is My Profession (1958) aka En Cas de Malheur examines the power of sexuality and the issue of control through the obsessive relationship between a bourgeois French lawyer with a young girl. The young girl in question is Yvette, played by sulky kittenish Brigitte Bardot, a woman for whom morality isn’t exactly absent, but it is skewed. Normally, affluent middle-aged lawyer André Gobillot (Jean Gabin) wouldn’t cross paths with someone like Yvette, but Yvette seeks help and legal representation from Gobillot after she and her friend Noémie (Annick Allières) attempt to knock off a jewelry shop, and Yvette ends up bashing the jeweler’s elderly wife over the head with a crowbar. After the robbery goes wrong, Yvette manages to run away to a bar where her sometime lover, student doctor, Gaston (Claude Magnier) works. Yvette gets the notion that she needs legal help and picks out Gobillot’s name from the phone book. Whether or not you think this is a stroke of luck or not may depend upon your romantic tendencies.
Gobillot at first refuses to represent penniless Yvette until she raises her skirt and in an unforgettable scene reveals her lack of underwear and her garter belt. From this moment, Gobillot is a goner, and his personal and professional lives spiral out of control.He represents Yvette in court and by some clever, but unethical legal footwork, Gobillot manages to get his client free. Instead of Yvette walking back to her former life, Gobillot pays her bill at a hotel that’s all too conveniently close to the courthouse. DVD covers often depict scenes far more salaciously than they actually are in the film, but this DVD cover is an exception. Bardot’s skirt is lifted higher in the film and you can see her garter belt and it’s also obvious that she’s not wearing underwear. Well the offer she makes to Gobillot is rather frank after all….
One of this marvelous film’s great characters is Madame Gobillot, played exquisitely by Edwige Feuillère. She’s not exactly a long-suffering wife, but she understands her husband better than he understands himself, so she’s one step ahead of his intentions when it comes to Yvette.
Gobillot begins an affair with Yvette, and although this should be a private matter, the illicit relationship has ramifications on everyone in Gobillot’s life. His wife initially accepts the affair as a silly passing interest, and she decides to tolerate it and keep the lines of communication open until Gobillot comes to his senses. Meanwhile Gobillot’s devoted old maid secretary, Bordenave (Madeleine Barbulée) is alternately shocked, concerned and titillated by Gobillot’s flagrantly erotic relationship with Yvette.
The complexities of the film’s characters add significantly to a tale that could be trite in the wrong hands. After all, the mid-life affair of a man of substance with a giddy, promiscuous blonde is hardly unexplored territory. While Gobillot’s relationship with Yvette is heavily sexual, there’s a large slice of the father-child dynamic at play. Gobillot treats Yvette rather as he would a naughty five-year-old, and this method works for the most part–even though her behaviour includes drug use and flagrant infidelity. For her part, self-confessed prostitute Yvette feels that she owes a debt to Gobillot, but their relationship extends beyond gratitude and also beyond the material security he showers her with. Yvette’s sense of morality includes admitting infidelities to Gobillot, and he treats her like a child when she confesses or is upset–even holding a tissue while she blows her nose.
As the affair grows more serious, Madame Gobillot’s tolerance is stretched to breaking point, and in once great scene, Gobillot tells Bordenave that he’s giving his wife “real reasons to hate” and compares this to a “mercy killing.” While Madame Gobillot’s tolerance is a strategic move, her decision to allow her husband ‘freedom’ to indulge in this affair proves catastrophic. Freedom and possession also raises its head in Yvette’s relationships with Gobillot and Gaston. Both men want exclusive ownership–whereas Yvette seems happier with no constraints on her behaviour.
Love is My Profession was remade into the 1998 film In All Innocence (En Plein Coeur), and interestingly the original film is bleaker and its characters much more complex. It’s impossible to watch Love is My Profession without recalling Simenon’s life and his turbulent marriages. At one point while married to first wife, Tigy, he had a long-term affair with the maid, Boule, and when he and his wife travelled to America, his wife stipulated that the maid remain behind. However, when Simenon began an affair with Denyse, the woman who would become his second wife, his then current wife sent for the maid to join them. There’s a very odd scene in the film which includes Janine, the maid (Nicole Berger). Is it just me but is there some swinging going on there?