This Sunday, June 7th, at 6:30 P.M., MysteryPeople presents a screening of Bertrand Tavernier’s Coup de Torchon, the film adaptation of Jim Thompson’s Pop. 1280, followed by a discussion of the book and film. At each double feature event, we screen a film version of a roman noir we know and love. Each screening is free and open to the public, and takes places on BookPeople’s third floor.
Nobody understands noir like the French, which makes sense since they coined the term. The get that noir does not so much represent literary style, but rather stands for the relationship man has to the darker side of his nature. Director Bertrand Tavernier’s Coupe De Torchon, an adaption of Jim Thompson’s gothic noir classic, Pop. 1280, takes the dark American fiction that inspired French literary theorists to introduce the term “noir” post-WWII, and puts it on screen in a French context that preserves all the complexity of the original novel.
Pop. 1280 is almost a play on one of his other revered novels, The Killer Inside Me. As in that novel, the protagonist is a questionable small town lawman, Nick Corey, sheriff of the small Southern county of Potts in the Nineteen-Teens. Nick is lazy, talkative, corrupt, and upon first meeting, appears incompetent. He’s Forrest Gump with a badge, gun, and few scruples. When he shoots two pimps who publicly humiliate him, it starts an escalation of violence and a power play involving his wife, mistress, an opposing Sheriff candidate, and the disenfranchised African Americans. The book often reads as a social satire,with murder as a redemptive act.
Coupe De Torchon moves the setting to French Colonial West Africa on the eve of World War Two. The lawman is Lucien Cordier, a village constable played in a bumbling low key demeanor by Phillipe Noiret. The film follows the book almost plot point by plot point, the setting fits perfectly for the sheriff’s benign brutality as he commits crimes in the glaring African light with a matter-of-fact-presentation.
In fact, the main difference is the film’s more reserved tone. Much of this may be translation, for little of Thompson’s ripe prose and Southern dialogue comes through clearly in the film, although the film compensates for the translated dialogue with physical humor that feels very French. That said, it captures the novel’s themes of class and one society repressing another, both with more clarity and slyness. The title is roughly translated into “A Clean Slate”, which fits perfectly as the film and novel are both looks at regeneration through violence.
Coup De Torchon, along with the many other Thompson novels adapted for cinema, proves the malleability of Thompson’s work. The way he looks at violence and the practice of power through violence is timeless and universal in its application to the human condition. Both the novelist and the filmmaker he inspired had a lot to sat about this subject.
Double Feature Stats
Adherence to Book (Out Of 5):
Adherence to Quality Of Book:
4 (Not As Humorous)
They Don’t Dance Much by James Ross, Donnybrook by Frank Bill, and anything by Daniel Woodrell
The Bride Wore Black, Macon County Line, Mississippi Mermaid, Black and White in Color
When Pop. 1280 was translated into French, the title became Pop. 1275. Tavernier joked “I don’t know what happened to those five people on the trip over.”
Copies of Thompson’s novel are available on our shelves and via bookpeople.com. We screen Coup de Torchon on Sunday, June 7th, at 6:30 PM on our third floor. The screening is free and open to the public, and will be followed by a discussion of the book and film in contrast.