So, I was going to hold off a little bit longer before talking about any films that actually had incest in them, but I recently saw Cadavres and I just can’t help but do a post on it right this second. Yes, that’s right, there is actual incest in this film, and not just a brother and sister who would be good together. Are you excited? And don’t worry, there’s still plenty of active shipping that needs doing here, they don’t do all the work for you.
Well, you may have some trepidation if you’ve noticed that the title of the film is not in English. You are right to fear: this is a French language film, and worse than that, it’s in the popular French of Quebec, so even if you speak Paris French, good luck understanding these people. (I’m affectionately not joking.) In fact, good luck getting a hold of this film at all. I’d recommend searching the internet; it should be available for those enterprising individuals who really want to find it, and you may need to download English subtitles separately, but they are out there. It might be more available if you live in Canada – I wouldn’t know. I hope so. Well, it’s my job to convince you to see it; maybe we can change the distribution problems associated with this delightful but disgusting production.
Cadavres is based on a book which I am currently having shipped to me from Delaware. That copy may be one of only a handful of copies of this book in this large country of mine, and it’s about to join my personal library, so I feel pretty special. Long story short (too late! Clue joke!), I haven’t read the book yet, so I don’t have that insight to add. Also, due to my difficultly in comprehending the spoken French of the Québecois (if I call their accents atrocious would they be offended? I mean it with affection!), I am almost entirely reliant upon the translations found in the subtitles of unknown origin. They seem to be adequate, but I cannot speak for the nuances we are missing out on.
Although the French word “cadavres” is a cognate for the English word “cadavers”, the English equivalent has a medical connotation that I cannot speak for in the French. One could translate the title then as “corpses”, but that strikes me as not being quite right, I am not sure why. I guess because the word corpse is a little awkward in English, and not a word one has the opportunity of saying very often. Also, I think it has the connotation of being a term for a dead body that has been dead for a certain amount of time, whereas the dead bodies of this film haven’t been dead for very long at all. I would therefore lend my translation for the titles as Bodies, which is again insufficient because it doesn’t not imply that the body is dead. So maybe Dead Bodies would be a better title, but that’s a little heavy-handed, don’t you think? Anyway, the title doesn’t matter so much, it doesn’t give us very nuanced insight into the film the way a title like The Crucible does. I always go to The Crucible when I want to talk about something that was well-titled.
I like films that are very stylized, and this is no exception. There is kind of a green coloring to the entire film that doesn’t ever get annoying. It certainly causes Angele and her smoky sunset hair to stand out.
There are some special effects which despite what I imagine to have been quite a low budget for the film actually look pretty good. And finally, the framing is extremely interesting. My compliments to Canuel, le metteur-en-scene.
Now, the set-up: what is this movie about?
Again, I can only speak for us United States-ians, but I doubt you’ll recognize anyone from this film. That saves me some time.
Our “hero” is Raymond Marchildon, played by Patrick Huard. He kills his mother, drives drunk, hasn’tshowered or brushed his teeth since God knows when, and starts f #&king his sister while she’s asleep, but I think you’ll like him. I did. But I’m getting ahead of myself in terms of plot. Raymond is the narrator of the book, I have been made to understand, but in the film he only narrates at the very beginning and the very end, and doesn’t say too much. He’s not a man you easily read, and that’s not only because his nasty, needs-to-be-cut hair is hanging down in front of his eyes, blocking them. He’s a man of few words and much fewer expressions.
The film begins on Halloween, with Raymond driving in the pouring rain, and his mother in the passenger seat. They’ve been kicked out of bar after running out of money, and according to him, they were so drunk they couldn’t walk, so they were fortunate they had the car. (hee!) This is our first hint that this film is actually a dark comedy, because as it starts out, it mostly just seems dark. Due to my unfamiliarity with the variety of French spoken in Quebec, it’s hard for me to tell, but I think that Raymond is something of a mumbler, and this, I think, is supposed to be comedic. Well, I choose to believe that he mumbles, and I find it funny, but your miles may vary.
Well, we already know a lot about these two Marchildons: they don’t have anyone else (or why else would they be with each other on Halloween?), they drink a lot, they’re irresponsible (don’t drink and drive! People die!), and they don’t have a lot of money. It doesn’t take long for us to feel bad for them, but it isn’t until Mama Marchildon (her given name is Solange, according to IMDB) pulls out a gun that we know just how shitty things are for them. Raymond is surprised but not too surprised. When she
starts waving it around in a threatening way and pointing it at him (in a threatening way, I needn’t add), he isn’t even phased, he’s totally nonplussed. This is a comedy of underreaction: most (a lot, anyway) of the humor comes from the way the Marchildons respond to what is thrown their way, that is to say by their near lack of response.
Mom says that Raymond is the reason why Angele left. Who is Angele? If you know that there’s a sister in the movie, it’s pretty easy to guess that this Angele-character is her. On a personal note, it’s nice to see her introduced so early. We see that even though she’s not there physically, she is still a presence. We learn that Angele (played by Julie Le Breton) has been out of touch for years. Raymond responds to his mother’s blame by saying that Angele doesn’t care about them and that she won’t be back. It would seem that they’ve had this conversation in the past. Mom seems to think that Angele will be back, but why? Is it because she thinks she’ll be dead soon, or because she thinks that Raymond and home still have a hold on their lost sister? And why would Raymond have driven Angele away? Why would he be the reason she’s out of touch?
Solange turns the gun off of her son and onto herself. Raymond, complaining that she’ll get the seats dirty (ironic that he should care about that, you’ll realize, once you see the house) manages to get the gun from her. But she convinces him to shoot her, going so far as to put her mouth over the barrel and telling him he doesn’t have to watch, he just has to pull the trigger, baby. And he does shoot, but it’s out of love, he tells us. Well, shooting your Mom in the face is not good, but I don’t think we’re supposed to be too too hard on him.
If you thought it was shocking to see him shoot her, imagine what I felt when he shoved her out of the door while he was driving? Don’t worry, he goes down and eases her body into “le fossé”, which is to say the ditch. And then he leaves.
He runs out of gas, and he’s already out of money, so he calls his sister, Angele. I doubt he’s got the resources to keep up a cell phone, so he uses a payphone; good thing he’s got Angele’s number memorized. I wonder if he’s dialed it before? All he says is “Trick or Treat” (something that has apparently spread to our northern neighbors) but she recognizes his voice right away. Angele asks how their mother is, and he says what’s translated as she “could be better.” Ha! God, I love this movie. She takes the news of their mother’s death very matter-of-factly. Neither one of them seem to regret that she’s dead, but I wouldn’t say they didn’t love her.
She’s slightly surprised but not displeased to hear from him. There isn’t much feeling in the way they speak to each other. It’s neither warm nor cold. I think they don’t know how to be around each other.
Angele comes to him, gets him enough gas money to drive back to the house, and she follows in her Beemer. The exterior of the house makes it look quite nice and large, if you ignore the broke-down porch steps. The property also has not a septic tank but a septic pond, and a bonfire area full of junk and soon a number of burned vehicles as well, so the grounds are not as lovely as they could be. Still, what I was struck with was how much potential there was. I had to wonder how they held on to such a place, since it seems that Raymond doesn’t work, and probably Mama neither.
Raymond turns on the power to the house, a bit like that scene in Casper where each room lights up one by one, including the single, bare light bulb in the basement (and the garage, and Mom’s bedroom in this case). As the house becomes illuminated, we see that Raymond has managed to keep a fish alive which even Spencer on iCarly can’t do (the tank is a TV set, don’t ask me how it holds water), and we see that Angele, despite her unnaturally red hair, is a total babe, and nicely dressed and therefore totally out of place (I really like her clothes through out the entire film, starting with the coat she wears during this scene and the boots).
No offense to Patrick Huard, I’m sure he could be quite attractive in another role, but I’m a straight female and I spent more of the movie checking out Angele (played by Julie Le Breton) than I did Raymond. Of course, when she’s not naked or skipping about in a lacy white bra and boy-shorts
she’s wearing thin leggings and an overshirt that hugs.
She’s in great shape. I would kill for her body. Not my mother, but maybe someone else. All of this nudity must be with a specific purpose in mind, because it snows on the last day, so it’s probably pretty frakkin’ cold in that house. The only fires are those burning the evidence, and I doubt they can afford to heat the place.
As the power comes on, so does the television. An episode of the TV show Cadavres is playing, starring Angele Pontbriand (yes, our Angele: big surprise that she uses a stage name, not! -but she hasn’t had her name legally changed, we do learn) as Inspector Davoine. Angele has black hair on the show, and it took me a few scenes to realize that it was her on the TV (I thought he was watching porn, which would explain how she reacted to it – and the quality of the acting – but I was wrong).
Angele is amused (and dare I say very pleased) that Raymond has her show on. And indeed, Cadavres seems somehow to be on every time somebody turns on that TV. Raymond quickly comes over and turns off the TV. He also has a magazine with her on the cover that he quickly flips over. Awwww… Someone spends a lot of time looking at and thinking about big sis but doesn’t want her to know!
In a review for the book it noted that Angele is actually a very bad actress. I never really thought about it, just figuring it was making fun of her show and not of her, but it’s true, she’s truly terrible. The show is obviously some kind of crime show, but it’s extremely over-the-top. And apparently there’s a lot of Angele naked, so that probably explains why the ratings are so good. Most people Angele encounters seem to recognize her, so it’s a very popular show. Raymond never gives us his opinion directly, but I think we can deduce he’s seen if not every episode then at least almost every episode. But I think it’s clear he’d prefer she was never on the show at all. And he kind of insults it, when Agent Pilon (the cop who shows up) is saying that he could write a better script than you find on Cadavres, and Raymond agrees even though Pilon is an idiot.
Angele regards the house with disgust. The place is a pig sty. The table is covered in empty beer bottles, but garbage (recycling!) is the least of their problems. I mean, this place isn’t just in need of a tidying, it is comically a disaster.
Angele takes it all pretty well, in fact. I think I’d have probably fled for my life. It makes me wonder whether Angele was prepared for what she saw there because it was like that growing up. The only problem with that theory is the fact that there are a couple of flashbacks that actually seem to be quite nice. In fact, the niceness of these flashbooks would appear to be central.
She gets over her rather sadistic pleasure at seeing that he watches her show quickly and demands to know what happened. He tells her the story (only saying that Solange shot herself and omitting the fact that he had done it), and she orders him out to the car so that they can go retrieve the body of their mother. Angele has her comedic moments, particularly where it comes to her show, but she’s a bit more reasonable than Raymond, a bit less out-there. She never even suggests that they go to the police, but she does want to see her mother have a proper burial. She also doesn’t seem to quite believe him, despite the way she received the news on the phone.
I’m starting to think that the categories of relationships I laid out in my first post are entirely worthless because I’ve had trouble with every single sibling pair getting them to fit into one of the categories. Raymond and Angele alternate between getting along like friends, bickering like an old married couple, and then a tug-of-war of gestures of reaching and desire. They’re very awkward at first, and they continue to be a little awkward, but at the same time there’s this great familiarity.
In talking about Vertical Limit, I described the first meeting between Annie and Peter at the base camp as being just like that of two ex’s. I should haveadded that they act like two ex’s who’s relationship ended in an abrupt way and who still like each other. Raymond and Angele act more like ex-husband and wife who kind of hate each other, but are forced to work together to do something (like raising their kids, for example). They definitely start out this way. Well, you can’t blame her for treating him like this because he tossed their mother’s body into a ditch. On his side, you can see why he would resent her: she’s beautiful, famous, and she’s left him behind. We don’t know the exact circumstances of when she left and we never learn them, but despite what his mother has said, Raymond definitely feels like the victim and I’m inclined to side with him with respect to that.
About 14 minutes in we get this moment just after Raymond has turned off the TV when he and Angele are standing very close to each other. It’s kind of electric. There’s something sexual between them, that much is clear. We don’t know whether it was in the past or whether it’s just the way they feel, but this one second speaks volumes. Of course, I noticed this the first time I watched it because I look for stuff like that, but I believe it’s intentional.
So, they leave and go to get Mom’s body back from the ditch. It’s still dark, though it has stopped raining. I like to think that the rain he was in earlier when he put Solange in the ditch was kind of like a shower, because boy needs it.
Angele spies some feet. Raymond pulls the body out and puts it into a sleeping bag that they brought while she brings the car around. The body is totally covered as they carry it up to the car. Raymond wants to throw it in the trunk (that seems reasonable) but Angele insists that Solange be put in the passenger seat. As they set her down, the lips of the sleeping bag fall back and you see a bald man sitting there. Angele exclaims “Mama!” and in probably the funniest-delivered line of the movie, Raymond says basically, “Uh, it’s not her.” Oh Lord how I laughed. How I’m laughing right now!
Well, a van for a rug company drives by very slowly and the driver and the passenger – two very sketchy-looking characters – see the body and naturally the car as well. Well, Raymond knows they’ll be back, so he and Angele have no choice but to take the body with them. The two in the van turn up later, and they’re hilarious and sweet. Very original, I thought.
Fortunately, the Marchildon house has a cellar, and not the classy wine kind. I’m not sure if all cellarsby definition have dirt floors that go right in to the ground, but this one does. It’s basically outside with a house sitting on top of it. So Raymond digs a hole, they drop the fellow in it (whom we later learn is named Johnny – not very French-sounding if you ask me). And so begins the movie. The body mix-up involves the two novice gangsters we saw in the truck and their bosses. We also meet Angele’s boss who produces her show. And then an overturned truck creates a loose herd of piglets (so cute!) which then bring a cop (the aforementioned Agent Pilon) to the Marchildon’s door. This movie could be a play with its limited cast of characters and settings.
Now is the part where I warn you: this movie is disgusting and has a fair amount of nudity, including men though they are painted. And when I say disgusting, I am obviously not talking about the incest. I’m not even talking about the poor dead baby pig. I’m not even talking about the cadavers/corpses/bodies. There’s vomiting, a scene with poor Agent Pilon on the toilet (and he’s not feeling well), some swimming in the septic pond, cocaine use (not as bad as watching heroine use but still not something I enjoy), Raymond examining his teeth (don’t eat during that part), and moldy macaroni (hence the vomiting). It’s just a gross movie.
Now, this is the part where I tell you to stop reading this and go get this movie (if you think you can handle the ick)! I strongly recommend that you see it before coming back to read the rest of this entry. And seed! And tell your friends! I’m so sad that I would not have seen this movie if it weren’t for almost happenstance.
Well, the great thing about this movie is that you don’t need your shipping goggles! I think I have a legitimate case here. So take them to get cleaned or put them away, whatever you want, because you won’t need them. Even the subtitle for the movie says it all: un genre de Love Story.
I’m not going to go into too much detail about every great part between Angele and Raymond. There is too much. The reason why I’ve got it so stuck in my mind is because the movie isn’t really popular enough, so there isn’t any discussion out there, and I have a lot of questions about the end. I can fanwank some answers for myself, but that’s not entirely satisfying.
Well, first, I’d just like to say Angele&Raymond For Ever!!!!!!! Angele et Raymond pour toujours! Qu’ils soient toujours ensembles! Aren’t they great together? They’re great together. I mean, they have a great sort of romance, with Raymond who is poor, who is a loser, who isn’t a looker, but who certainly isn’t stupid (even if he is a little dense during a couple of scenes, for example, “ce n’est pas un tapis”, Dude, your mom is in the rug, hello!). And then you’ve got Angele who is beautiful and famous and has abandoned her home and her roots (not the hair kind, she’s still got those and they could definitely be less obvious) for the city and for money.
It’s a romantic comedy classic formula! There’s a special emphasis on the film that they’re from two different worlds, but that’s not exactly true, is it? They were once in the same world. And don’t most films sort of set-up that obstacle and then break it down in favor of true love? And when it doesn’t get broken down, doesn’t the guy or girl usually end up with someone that they grew up with? I’m thinking of Easy Virtue with Colin Firth, Jessica Biel, and Kristin Scott Thomas as an example of the latter.
And it’s not like Angele’s life is painted in such a good light anyway! First of all, she’s a crappy actress on a crappy show. Her boyfriend got arrested for something (we’re never told what), she put almost all of her money into his bail, and then he left her and took off. (What a catch! Why can’ t I find a man like that?) She’s not treated well by the people in the business, and spends most of her time feeling like a whore. And what does she get for all of it? Money. And as all of us good movie-viewers know, money isn’t the key to happiness. And doing something you feel is morally wrong for money is the path to destruction. She says herself that she’s got nothing. “Again,” she adds mysteriously. And as Raymond points out, look where she comes. She comes to help out with Mom, but maybe that’s not her only reason.
What I see here is two people who aren’t doing too good living on their own. Where as in their flashbacks what do we see? Heaven. In fact, one review of the film said it was about original sin, and paradise lost. I’m not sure how I feel about that, but their childhood is definitely presented as a type of two-person paradise (Eden) and clearly doesn’t exist anymore. Now this Original Sin business I’m not sure about. Unless it was them developing sexual feelings for each other that put an end to Eden. I think that’s a pretty big jump from what we actually see in the film. But who knows. I’m against it because I’m perfectly fine with them having sex with each other. I don’t think it’s mutually exclusive with paradise. In fact… Anyway, I do think it’s perfectly clear that they look back on their childhood together as idyllic.
One of my favorite parts of the movie is after Raymond steals Angele’s wallet and her Beemer. He stops at an ATM to get more money and so he has to guess her pin. He doesn’t get it right (we don’t know how many times he tried) but then he guesses his own birthday, and that’s it. Awwwww……!!!!!!!!!!!! He’s totally moved.
So then he buys her flowers and decides to head back to the house. I think the movie makes it totally clear that he’s totally in love with her. He fights it a little at the beginning, but itdoesn’t take long. But this is one scene that shows how much she still cares about him. I mean the way I do my passwords and pins is usually more to do with whom I’ve got a crush on than anyone in my family.
I love the way he notices Agent Pilon touching her sides and he gets jealous.
It’s even better when she’s buttering up her boss with some kisses and Raymond walks right down to them and puts his arm around Angele’s stomach and pulls her away.
It’s clear that Raymond truly loves her. What guy wouldn’t want his sister to be a rich celebrity on a popular TV show? Only if he truly loved her and wanted to be with her would he prefer that she have no money (even though they care clearly in need of it). When her boss Mr. Maisonneuve offers her her job back on the show, Raymond is clearly displeased. In the end he pretends that he’s been hired as her agent and totally rocks the negotiations, but you can tell he doesn’t want her to go back to the show. And I love that he takes a part out of the engine of her car so that it doesn’t work. He does that right away. He wants her to stay so badly, even as he can’t admit to himself or to her how much he still loves her.
So, I’m going to start doing my asking. I am totally fine with everything that happens in the movie up until the very end. It seems like Angele goes dramatically out of character from the second she wakes up (November the third). After Mr. Maisonneuve gets killed, she’s justifiably angry, and she calls Raymond some names (being her brother you’d think he’d be used to it and wouldn’t overreact the way that he does), and that all seems to be in character, but everything that happens the following morning strikes me as a little off.
That Raymond is so sensitive to Angele calling him a loser (to the point that he fondles the gun and gets ready to take off) makes a certain amount of sense because he’s in love with, and he’s trying to protect himself and he thinks probably that he’s doing right by her by choosing to leave, maybe for the first time (though that’s what her boyfriend did, now isn’t it?). So he’s getting ready to leave, and yeah he’s taking some stuff from her but he’s got nothing of his own so no sweat. And then he sees her, there, lying in his bed, topless with only boy shorts on bottom and stops.
He lies down next to her in order to hug her. His look isn’t lustful at all. It’s her in her sleep that gets him touching her breasts and starts rubbing against him. The fact that he started having sex with her seems pretty reasonable in that context. He thought she was awake. I thought she was awake. Everyone thought she was awake. But she wasn’t, at least not entirely. Well, I’m going to pretend her subconscious was pretty active during that part. So, she wakes up and freaks out on him. She’s surprised, and outraged, and asks how we could ever think that she wanted him to do that. Well, I could tell ya, honey.
Why would Raymond be so angry at her unless he felt abandoned? It’s normal for a woman to move out of her mother’s house and get a job, so why would be feel abandoned unless they had some other kind of arrangement, spoken or unspoken?
If you want to ignore the way she’s been dressing, including being nearly naked in his bed during this scene, then you can think back on the night before when she not only crawled into bed with him, but was stroking his chest so that he would open up his arms and let her into them.
But OK, maybe all of that was totally innocent.
How about the way she behaved the night she got there? She noticed him watch her take her clothes off before she got in the shower.
I don’t know, maybe that’s typical for them. But then she gets out of the shower while he’s in the bathroom (and the shower door was already transparent), and stands there, naked, asking him to hand her a towel.
Then he holds it out to her, he’s looking in the mirror and she’s behind him. But she moves slow as molasses to take the towel. Then she takes the towel, but doesn’t wrap it around herself, she uses it to dry her body in sections. Now, again, I wish I could have translated this conversation myself because I hate to depend on someone else’s translation when things are ambiguous, but I thought the conversation they had in the bathroom implied pretty heavily that they’d had sexual
relations of some sort in the past. Angele talks about Raymond having someone else to compare her to besides Lucette (who is a prostitute), and remembering things.
Plus, she wants him to do “the spinner” for her. Oh, the spinner! Hee hee hee! I thought this was a sexual move the first time I watched it. It’s not…exactly. It’s done naked, but not as a part of intercourse. Anyway, I won’t go into that further, it should really be enjoyed as part of the film. And then Raymond refuses and tells (in his mind) Lucette that he won’t do it for her even if she is more beautiful than her (Lucette). So he’s clearly withholding this as a sort of sexual punishment just as demonstrating it is sexual in nature.
She might also have noted that he calls her beautiful at least twice, which is to say that he notes her physical qualities. She knows she’s beautiful, it’s not like she’s fishing for compliments and in need of the reinforcement. (Of course those types perpetually have low self-esteem, or maybe that’s just a stereotype.) And then when they eat breakfast together he has a hard on, and she’s rather pleased, asking if that is what she does to him. He denies its her, but you can tell that she knows that it is her, and she is the opposite of disturbed.
So, basically, my point is, she should not have been surprised. Much less disgusted, because she kind of had it coming (not in a she’s-asking-to-be-raped sort of way, mind you; I, of course, don’t mean that); she’s been yanking him around. Now, I can understand that she would be shocked, because she was asleep, so it felt like a violation, but she should have heard him out. And he should have stuck around to explain it to her.
Here’s another reason why the last bit feels out of place: he’s been a total letch that whole time she’s been there, but all of the sudden he lets his guilt over feelings of lust drive him away? And you’d think he would want to explain that he thought she was awake and wanted him to do what he did. Who would let that kind of misunderstanding just rest like that?
Angele says something pretty interesting during this whole part. She says that everyone else can, essentially, f#$k her, but not him. The way she says it sounds like it’s meant to be an insult, and it kind of sounds like one, but not really when you think about it. Maybe she is sexually attracted to him, but she wants to keep their love purer than that because she does feel like a whore. I mean, that’s really the only way I can interpret it.
So, Raymond is leaving, and Angele grabs the gun and follows after him. She’s now ordering him not to leave her. She says that a bunch of times. And he’s trying to leave, he’s moving to get in the car, and she shoots him. I get that. She’s trying to stop him. I mean, it’s not normal, butI get it. And then he’s still trying, so she shoots him again. Still kind of understandable. But at this point he’s clearly not well, and she shoots him thrice in the chest! So, he’s clearly on his way out. She doesn’t make any move to call an ambulance or anything. She just goes to him and takes him into her arms and tells him that he has to stay. WHY? I mean really, why?
I’m going to do a post later on the movie The House Of Yes, which is very similar in many ways and ends the same way, but in that case it was quite understandable why she shot and killed him, he wasn’t going to stay, and she’d lost him to another woman. That is so not the case with Cadavres. Raymond was leaving, but she still had him in her siren-y clutches. He was totally in love with her.
Another thing I don’t understand is why he was seeing her in character as Inspector Davoine while she was shooting him. My only idea (literally my only idea) is that it was to show that she wasn’t really processing the event as real. She didn’t quite know that she was shooting him. And with all of the people that had died in the house during those couple of days (among them the Day of the Dead, not so ironically), she was probably very numb to death.
Other theories I’ve got? Well, maybe Raymond dying was her punishment for leaving. The agent who brought about the punishment (in this case herself) was perhaps entirely irrelevant.
Or maybe a movie which goes so far still couldn’t go all the way…
Another? Well, Angele asked Raymond if he thought maybe a skeleton that he had accidentally dug up in the cellar had actually been that of their father. He’d been gone so long they didn’t even know what he looked like, but he hung around long enough to father both of them. Angele is older, but we don’t know the age difference. It can’t be too much, or she would remember their father. Anyway, she wonders if maybe their mother shot and killed their father and buried him in the cellar. She must have had some reason for thinking that might be true. If that’s the case, then their mother shot and killed the man she loved (?) so that he wouldn’t leave (?) and now her daughter has done the exact same thing. I think the symmetry and destiny of that idea is quite lovely. It also ties back nicely to The House Of Yes. I think I’d prefer this. In this case, she killed Raymond to keep him.
Also, Mama Marchildon haunts Raymond a bit in ghost form. Maybe it’s common to the whole family, and Angele thinks that Raymond will still be around, through the veil.
Anyway, these are my questions: Why did she freak out when she found Raymond making love to her (beyond the obvious reasons) when up until that point she hasn’t made it abundantly clear that she wouldn’t like that, and why did she shoot him?
I would love to hear your thoughts, and please see the movie!
Edited to add: The book has been read, and a report has been done!