Bellamy (or Inspector Bellamy) is the final film in the career that spreads over half a century of director Claude Chabrol, a career started within the cinematic revolution of the French Nouvelle Vague at the end of the 50s in which Chabrol was one of the most influential names. Many of Chabrol's first films were set in the society of the young students or lower class people in the France of the end of the 50s and of the 60s, in time he had broadened his breadth and dealt with a wider social range. This last film of his is set in the bourgeois society of the French province and while from a thematic point of view we find the combination of detective story combined with the psychological analysis which eventually discovers the real being of the characters under their apparent skins, from a stylistic point of view it's a very settled, almost static work.

Much of the film relies on the presence of Gerard Depardieu for whom the role of the police inspector who cannot escape undertaking an investigation in private cop mode while on vacation seems to have been written for. Strange as it may seem Chabrol and Depardieu work together in Bellamy for the first time. I can however imagine that the director let the actor all the freedom to build his character, a combination of Poirot and Maigret at huge physical proportions, with a tenderness for the loving wife acted by Marie Bunel in a manner that makes us fall in love with her and become jealous on Bellamy/Depardieu by the end of the film, and a complicated relationship with his step brother (solid acting by Clovis Cornillac). I mentioned Maigret, and maybe I should also remind here another famous detective, Columbo, as their wives represent a mythical but background, in many cases unseen, presence in the respective films and books. In Bellamy, the inspector's wife is a real presence, and the family story will play an important role and give to the action and story a dimension that competes and even exceeds the detective story itself.

I have watched many times the French critics becoming more enthusiastic about American movies than their American counterparts (and audiences in many cases mirroring these feelings). Something similar seems to have happened with this film as well, as the critical reception in the US by critics as important as the late Roger Ebert, or the New York Time critic were very welcoming, while the French critics I read reproached the lack of suspense of the story and the theatrical approach. I would say that both - appreciative reviews and critics were right. Bellamy does look at many moments as TV theater with stiffness in dialogs and static camera work especially in the scenes filmed in the interior. There is however enough fine acting to support the gradual discovery of the characters and the situations to keep the interest awake, even beyond the fascination of watching another work on screen of Depardieu. Claude Chabrol's last film is a low tone Adieu, by a master who never stopped being fascinated by the endless games of disclosure and hiding of his characters.

Having taken an unplanned breather from my ongoing Chabrol marathon, I ended up missing out on the very birthday I was celebrating! Anyway, I promptly reprised the schedule via his most recent offering – which, though it seems to have slipped pretty much under everybody's radar, emerges a decidedly solid effort.

Amazingly, the director and the film's leading man – Gerard Depardieu, one of France's top stars for the last 35 years – had never worked together and, while the result does not particularly tax either of their talents, the thoroughly professional (but, at the same time, relaxed) contribution of both here attests to their longevity. Incidentally, I last watched this actor not too long ago in similar (albeit period) guise in DARK PORTALS: THE CHRONICLES OF VIDOCQ (2001), where the exploits of that real-life detective had received distinctly fanciful treatment.

In fact, here Depardieu (looking incredibly puffy if still charismatic) is an eminent Police Inspector on vacation who is approached by a strange man confessing his responsibility in the demise of another whose charred body was discovered on a nearby beach in the film's opening scene. As the titular figure burrows into the case, he realizes not only that the identity of both killer and victim were fake but also that they are one and the same! Having become involved with a much younger woman, the man had intended disappearing (and eventually change facial features, which he does!) to throw his wife off the scent. However, the patsy selected for this ruse proves to be a tramp with a death-wish – so that it turns out the would-be killer is actually innocent of his own admitted crime!!

The situation, then, is resolved in a most surprising trial sequence – with the Prosecuting Attorney assuming, at Depardieu's instigation, the role of Defense Counsel as well and providing his definitive statement in song! To complicate matters for Bellamy even further, his ne'er-do-well half-brother – with whom he shares a love/hate relationship – comes to visit and, at the end, perishes in much the same mysterious way as the subject of his latest investigation!

As can be surmised from my comments, the film is essentially a lightweight, old-fashioned affair (barring a few swift transitions in the modern manner) but polished and entertaining enough to reap considerable rewards for movie connoisseurs of most persuasions.

Bellamy (Depardieu) is a famous Parisian police detective on vacation in Nimes with his wife. He is intrigued by a local scandal involving an insurance scam and death. The perpetrator of the scam contacts Bellamy for his advice.

His curiosity is roused and he meets the con.

I agree with the reviewer who said this slow moving boring film has a bunch of subplots that never seem to go any where. I would add the film tries to be deep with tons of meaning of life dialogue. This mixture comes off as vapid.

I suppose the main subplot concerned Bellamy's (Depardieu) brother Jacques (Clovis Cornillac) who is miscast at 20 years younger than Depardieu. In the end we find out that Bellamy almost choked him to death as a child. So?

Look this movie is a dud. Even with the tantalizing evidence of a twist ending of sorts. It is too vapid = a non suspenseful non thriller non anything waste of time.

Also Depardieu's naughty sexual behavior towards his wife is a pathetic prop to add virility to this fading obese star. Depardieu is also portrayed as a sort of a walking Socrates plum full of contemplative dialogues--the worst sort of French film flaw---talk talk talk talk....

Do not rent or watch this film.