‘The Richest Woman in the World’ Review: Isabelle Huppert Stars in a Billionaire-Dynasty Drama That Fails To Scratch the ‘Succession’ Itch

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Isabelle Huppert seems to have a strong inclination towards work, as evidenced by her acceptance of roles that contribute to her status as our greatest living actress, even in films like Thierry Klifa’s moderately successful “The Richest Woman in the World.” However, one could argue that it’s a self-fulfilling prophecy – this drama about the folly of extreme wealth and its eventual downfall, which is loosely based on the 2010 Bettencourt Affair involving the heiress to the L’Oreal empire, appears both beneath Huppert and yet crafted specifically for her. The film’s enjoyment stems solely from watching Huppert gracefully navigate her role, which fits her like a custom-made costume as perfectly as the designer outfits by Jürgen Doering and Laure Villemer in the movie.

In the early hours of the morning, Marianne Farrère (Huppert) is awakened from her sleep as the police storm her grand mansion. Upon encountering the intruders a short while later, she looks stunning – perhaps due to her role as heiress to a vast cosmetics empire, she apparently never removes her lipstick before bed – but she is unable to prevent them from confiscating her assets and arresting her guest, Pierre-Alain (Laurent Lafitte). The prologue concludes, and we then journey back in time to delve into the circumstances that led this upper-class figure to such a dramatic fall, starting with a carefully orchestrated interview arranged by Marianne’s disheartened daughter Frédérique (Marina Foïs), who sports an unusual hairstyle.

Initially, Marianne encounters Pierre-Alain, who is a failed artist and photographer with a penchant for self-absorption and sharp, sometimes vulgar criticisms. A self-proclaimed gold-digger and flamboyantly arrogant individual, as depicted by Lafitte, Pierre-Alian is initially very annoying due to his boorish behavior. However, Marianne remains unaffected by this, finding him more like an unruly pet than a genuine acquaintance. Despite knowing that Pierre-Alain is gay and has a long-term partner, their relationship develops into an uncomfortable, codependent, platonic love. Marianne provides Pierre-Alain with distraction from his mundane life, while he offers her campy amusement in return for financial support, patronage, and access to exclusive privilege.

This version maintains the original’s meaning while using simpler language and a more straightforward structure to convey the relationship between Marianne and Pierre-Alain.

In the story, Frédérique, who’s had strained relations with her parents since she married her Jewish husband, starts to feel uneasy about the impact of the seemingly unskilled Mr. Ripley on Marianne. Similarly, Jerome, a meticulously discreet butler, senses that Guy, Marianne’s husband, might have romantic feelings towards him. However, when Guy passes away, the restrictions on Marianne’s actions, which were previously imposed by Guy, are lifted.

The movie “The Richest Woman in the World,” scripted by Klifa, Cédric Anger, and Jacques Fiesch, is based on a true scandal but has been reimagined to focus more on its protagonist’s peculiar personal and familial relationships rather than political events from the Sarkozy era. It also moves the timeline back to the late ’80s, subtly altering the balance between the political and intimate aspects of the story. The film delves deep into the intricacies of the real story, but some critics feel it exaggerates these complexities, a perception heightened by Hichame Alouié’s glossy yet somewhat flat cinematography. The visual style seems primarily designed to highlight the protagonist’s glamour, with Emmanuelle Riva, who portrays Marianne, beautifully capturing her on-screen presence – so radiant it appears she could be made of porcelain, or perhaps carved from a giant elephant tusk.

The film’s portrayal of a court case involving Frédérique, which revolves around the French “abuse of weakness” law, may not enhance its reputation, as it recalls Catherine Breillat’s 2013 film titled “Abuse of Weakness,” also starring Huppert. The production adopts a Netflix-like anonymity, except for instances where it incorporates interviews with various parties, resembling a documentary (interestingly, there is an actual Netflix documentary about the Bettencourt affair called “The Billionaire, the Butler and the Boyfriend”). Furthermore, there are a few dramatic touches, such as the overly dramatic semi-dissolve close-up of the writer as a letter is being read aloud. However, these elements do not significantly impact the overall tone of the movie.

Rather than “The Richest Woman in the World,” Huppert’s extraordinary work ethic is primarily immortalized in

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2025-05-20 08:21