The only real gravitas comes from the reliably excellent Zem, here doing minor wonders with the clichéd role of the good-hearted, unwaveringly calm human lie detector.
There's little in terms of the tension associated with police thrillers, but it's also not a socio-realist drama or a character study, instead echoing parts of these genres at different times so there's a constant sense of deja vu and reminders of other, better films without the material ever really coming into its own.
Forestier and Seydoux are both fantastically desperate as dead end citizens who met each other at a very dangerous time in their lives, but Desplechin fails to make full use of his actors; instead of allowing them to shade in their characters, he pummels the audience into an ambiguous state of forced sympathy.
Although Desplechin claims his main interest is to get inside the two women’s characters, pushing away moral absolutes about guilt and innocence (yes, “Crime and Punishment” is a key influence), the couple come off as the least interesting people on screen.
Rambling but strangely compelling, Oh Mercy!’s documentary bedrock gives the investigation at the heart of the film a real authenticity. From around its midpoint, this uneven film becomes a riveting, compassionate interrogation drama.
It is a drama that attempts to behave like a tough police procedural in a quasi-Melville vein, but also like a musing prose-poem about the vanity of human wishes.
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