The Girl Who Loved French Films

Reading & Writing

I’m off for a week, heading to a small hotel in the sun to decompress before returning to finish my thriller and start the 2020 Bryant & May novel, which I hope is going to be a cracker. This means a little less blogging this week, although I’ll have my laptop and nearly 2,000 books with me. Meanwhile, the Collected Short Stories is now complete, so here’s one of the shortest stories from this vast and probably unpublishable tome…

The Girl who loved French Films

Sheila grew up in Sheffield, a Northern English town that had once been famous for the magnificence of its cutlery and the bravery of its air force pilots. By the time she was seventeen its glory had faded, and the grand Victorian lady had become a disappointed drab. It still had eleven cinemas, the smallest of which showed weekly French films after the town’s remaining students turned Roger Vadim’s ‘And God Created Woman’ into a surprise success.

Sheila had been taken on the ferry to Boulogne when she was seven, a day trip with her father before he was put away for running a disorderly house. Now she lived in a sooty boarding house with her mother, and her life was closer to depressing English dramas like ‘A Taste of Honey’. Every Friday she fled to the Roxy to watch Catherine Deneuve, Brigitte Bardot and Simone Signoret. She learned to smoked Gitanes and Gauloises, spent her earnings on red lipstick, high heels and bare-shouldered blouses. She knew the Montmartre backstreets better than the alleys of her home town. In her mind’s eye, the gangs on the banks of the canal were replaced by lovers on the banks of the Seine. Looking down into fetid water filled with shopping carts she saw only the reflected towers of Notre Dame.

She saw him sheltering from the rain, leaning against the coffee stall counter outside the Roxy. He was wearing a grey fedora, a crumpled Givenchy suit and a narrow tie of midnight blue silk. He had a pencil moustache and was chewing a matchstick. He seemed to have stepped down from a Gaumont picture. Perhaps he needed his dreams just as much as she needed hers.

He studied her openly as she ordered a tea, and told her his name was Jean-Guy Melville. She gave a shrug and turned her back to him while she added sugar, but only so that his eyes might linger on her bare shoulder, her exposed bra strap, the curve of her waist. He waited patiently. She had expected an over-practiced pick-up line, but none came. He asked if she had seen ‘A Bout de Souffle’. She told him it was her favourite film. They talked about ‘Vivre Sa Vie’ and ‘Jules Et Jim’. She said she was seeing ‘Les Diaboliques’ tonight, and he offered to accompany her. After, they discussed it in a café that felt French apart from the menu. There were checked tablecloths and candles in wine bottles, and accordion music played on a transistor radio.

Jean-Guy explained that he had worked as a croupier in Marseilles, but a problem with a colleague had forced him North. He had settled in Clignancourt and set up a business importing black market foie gras from Perigord to Paris. Sheila could not understand what he was doing in such a town as this, and his inability to explain excited her.

He had left his wallet on the dresser in his rented room, so she paid the bill. They lingered so long in the café that she missed the last bus home, so he walked with her in the rain. When it fell too hard, they sheltered beneath the red and white awning of a butcher’s shop, and he placed his jacket around her shoulders. He smelled of strong coffee, wine, cigarettes and something indefinably fleshy, as if the plenitude of engorged geese lingered on his skin.

They reached the part of town where the roads split from littered ginnels to wide suburban wastes. Knowing that the rundown boarding house where she lived with the keening old lady would disturb the delicacy of their shared dream, she told him she would see herself the rest of the way. He elicited her promise to join him next Friday to see ‘Judex’.

She sold dresses in a store that owed little to the umbrella shop in ‘Les Parapluies de Cherbourg’, but it had a place at the window from where she could watch the falling rain, and if she fixed her blonde hair in barrettes she could at least feel like Catherine Deneuve for a moment. On Friday Jean-Guy collected her and they ran through the neon puddles to the Roxy. In the café afterwards he closed his hand over hers as he lit her cigarette. In the candlelight he looked a little like Jean-Paul Belmondo. She wore a dress similar to the one Anna Karina had worn in ‘Vivre Sa Vie’, and tried not to cough as she smoked.

For a month she shut out the sound of her complaining mother and lived only for the cinema, the café, the walk home. As they watched ‘Contempt’, his hand settled in hers like a cuckoo curling into another nest. After, they drank carafes of house red and smoked, watching the rain-chased windows, and he told her he was returning to Paris. There was a deal that was too good to miss. She waited for him to ask, and waited.

Finally he said, ‘I thought you might consider coming with me. But I must tell you, my past is full of lies.’ And she quoted Karina from ‘Vivre Sa Vie’, telling him ‘Shouldn’t love be the only truth?’

There was no English timidity in his kiss.

As they were leaving, the café door opened and a grizzled man in a tweed flat cap bustled in from the drizzle. ‘Blimey Charlie, you gave me a fright,’ he laughed. ‘I thought you was still inside for desertion. Then Chalkie told me you was up to your old tricks. This a new little chickie for your henhouse?’

A small boy was fishing for eels in the canal and snagged the Givenchy-clad body with his line. In 1958 Sheffield had made an aircrew release knife which had become popular in the French underworld after the end of the war. Such a knife was found buried in the man’s heart.

Sheila’s mother said she had no daughter, and if she did the foolish girl was probably living in Paris.

6 comments on “The Girl Who Loved French Films”

  1. snowy says:

    It is a nice story, lots of atmos. [I think it was included in ‘Uncut’] but, [You just knew that was coming], there are a couple of very small problems with the selection of weapon.

    [Fact checking hat on.]

    There is a slight problem with chronology, there is a backward time jump, the reader is first told it was created in 1958, and then is told it was popular 13 years before it was created.

    The other problem really only applies if the reader knows that an Aircrew Release Knife is the least ‘stabby’ single object* known to humanity since the spoon, [there are reasons for this].

    It’s all fixable, what could fit the story points would be a Fairbairn–Sykes fighting knife, really, really stabby**, widely issued – [compared to the ARK], made in Sheffield – [MkIII post 1943], likely to have been swapped/stolen by a deserter.

    [ * Long explanations are available, but nobody is that bored. ]

    [ ** Look at one of your CWA daggers, they are copies of it. ]

  2. Jay Mackie says:

    Do you have a definite or provisional date of delivery for the Collected Short Stories yet Chris? And I guess it’ll be e-reader rather than a physical volume? Although the latter would be a beautiful addition for a bookshelf!!

  3. admin says:

    I must be missing something Snowy because I can’t se where you get ’13 years’ from.

    Jay the book is being planned as a hardback!

  4. Jo W says:

    Enjoy your break,Chris and return refreshed to the fray.

  5. Jay Mackie says:

    Yay – a lovely, physical book! Looking forward immensely- thanks Chris!

  6. snowy says:

    I really should have paid much more attention when warned as a child about not pulling stray threads!

    [And if anybody thinks I’m being a terrible meany, I do appreciate that this story was created before we all had entire reference libraries under our fingertips.]

    I did check it twice:

    [*jump left, step right, knees tight and thrust x3*] Time warp, tick
    [*socks off* one, a couple, a few, some more, lots, er… 13] Maths, tick

    But re-reading how I expressed it, it really is about as clear as a tarmac smoothie.

    The story is set in Sheffield with an English narrator who uses English reference points through out. There comes this line:

    “In 1958 Sheffield had made an aircrew release knife which had become popular in the French underworld after the end of the war.”

    Given the narrators English frame of reference, that would suggest 1945? [If it is another war, English idiom would usually name it specifically. And it could risk breaking the Sheffield connection.]

    [Can’t work out the exact date of the story, film references put the date of the story after 1963, but Givenchy didn’t do smutter for hommes until 1969.]

    Ooh… Sun’s come out!

    Bye.

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