Maybe the lack of fascinating fodder inside Rapha’s home is due to Claude’s amateur writing abilities; or maybe it’s due to Ozon missing the mark, getting wrapped up in an overly clever yet somehow flat portrait of middle-class malaise. The scenes between Luchini and Umhauer comprise the far superior half of the film, as do those between Luchini and the underused but top-form Scott Thomas.
Indeed, it’s the marriage between Germain and Jeanne that deserves a week-by-week chronicling, and might have provided a better focus for Claude’s pen-and-paper oeuvre. Jeanne, always sporting a different pair of appropriately funky red eye-glasses, is struggling to keep her gallery afloat, and adorning it with artwork of woefully derivative shock value and, well, cock value. (Case in point: One exhibition boasts photographs of penises in the shape of a swastika, and tits in the shape of a Star of David.) Germain clearly has little interest in what she does for a living and, as his obsession with Claude escalates, little interest in what he and his wife do in the bedroom.
As Germain’s voyeuristic tendencies increase, his attention to the woman in his life decreases. This reminds me of another character, a certain L.B. Jefferies (played by James Stewart) from Alfred Hitchcock’s “Rear Window.” Ozon is obviously in awe of that classic work, as the last shot of “In the House” attests. But peering inside a home and getting inside the lives therein are two different matters.
"In the House" has a limited release on April 19, via Cohen Media Group. Watch an exclusive clip from the film here.