Review #105: 'I, Pierre Rivière' (1976)

To give the film it's full title, I, Pierre Riviere, Having Slaughtered My Mother, My Sister And My Brother, Rene Allio's film has to be one of the most overlooked and unrecognised pieces of cinema in history. It tells the true story about a peasant farmer in Normandy in 1835, who, seemingly out-of-the-blue, butchered the majority of his family in cold blood. Whilst awaiting trial, Riviere wrote down a full and detailed account of his early life, the events leading up to the murder, and his brief time spent as an outlaw. For such an apparently uneducated farmer, it was seen as a remarkable piece of literature. In 1973, philosopher Michel Foucault edited together Riviere's statement, alongside various sources that remained from the case.

Beginning at a snail's pace, the film follows Riviere's (Claude Hebert) parents' increasingly unstable marriage. His mother (Jacqueline Milliere) seems to be mentally unstable, and intent on driving her husband (Joseph Leportier) into poverty and ruin. The two live apart, with Pierre favouring his father as opposed to the other children, who seem to be unaware of the huge debts that Mme. Riviere is building up. Pierre watches on silently as this takes place, and we are informed via voice-over that wishes he could somehow release his long-suffering father of his mother.

The film is filmed almost as a documentary, with naturalistic and cold exchanges between the majority of the characters. It even has various members of the village giving their account of Pierre almost to camera while their name and occupation appears below them. It works very well, and you get a real feel to the case and the attitudes of the time. It is made all the more realistic due to the fact that director Allio hired non-professional actors to play these roles who really were farmers. They talk, act and work like farmers, and the feeling of authenticity surrounds the film. I don't know if it is intentional or not, but it has the feeling of a Robert Bresson film, who famously called his actors 'models', and preferred them to act as little as possible. If it was intentional, then it is a bold and effective move, as it gives the feeling of mundanity to the farmers and their lives.

As Pierre Riviere, Claude Hebert is outstanding. His large nose, big eyes and tight mouth embodies that of shy awkwardness with a shade of uncertainty lying beneath the exterior. He spends the majority of the film lurking in the background, shuffling between feet and giving sideways glances as if trying to avoid eye contact. I genuinely believed that he would be capable of murder. The scene where he forces a horse and carriage over a large manure pile, tipping the carriage and almost killing the horse while Riviere stands by quietly laughing to himself, sent genuine chills down my spine. He is one of those strange kids at school that you would try to avoid.

But it's not as black-and-white as I think I'm making it out to be. Riviere is not just a strange psychopath. The film poses the same questions that were posed by the psychological investigators assigned to his case back in 1836. Riviere could be a victim of social alienation. Or perhaps it could have been a moment of insanity brought on by witnessing years of torture set by his mother. Or it is suggested that Riviere could have built up a misogynist mindset by taking in various pieces of literature, and because of his overall fear of women. It will certainly provoke discussion, and probably stay with you for a very long time. Absolutely magnificent.


Directed by: René Allio
Starring: Claude Hébert, Jacqueline Millière, Joseph Leportier
Country: France

Rating: *****

Tom Gillespie