The Laboratory of Fear is all about expectation. For the short’s eleven minutes, writer and director Leconte wants the audience to expect something. Lots of foreshadowing. Some of it matters, some of it is red herring.
The short opens very documentary-like, with a voice over explaining the modern (for 1971) laboratory. The lab’s so hip they’ve even got a woman scientist (Marianne di Vettimo); better yet, she’s actually good at her job (just ask any of the fellows, says the narrator). Cue opening titles, which end with a disclaimer: don’t expect too much scientific accuracy. So why open with the documentary style? To control the audience’s expectations.
There’s no way to predict, from that opening tag, Fear is actually going to be about lovesick custodian Michel Such going from annoying crush to possibly dangerous stalker. di Vettimo, however, doesn’t seem to notice his escalation. She doesn’t know she’s in the Laboratory of Fear, she just thinks she’s at work, trying to make some silver iodine and getting messed up because Such needs constant attention from her. He even tries to show off for her, sticking his hand in various kinds of dangerous chemicals. Presumably the actor didn’t have to do it, but who knows… di Vettimo is manipulating the spilled mercury by hand without a second thought (because 1971).
The short seems to be a race—will di Vettimo take notice of Such’s possible threat before Such escalates to the point of being dangerous? But the race is yet another of Leconte’s manipulations. The punchline, which is excellent, is as unpredictable as the setup. Though Leconte has been building to the punchline since after the opening titles; should it have been expected? Probably not. Not even if one is familiar with di Vettimo’s experiments, since Fear’s not about the hard science.
Good creeper performance from Such. Decent one from di Vettimo, who doesn’t really get anything to do. Leconte’s direction is fine, save the occasional visual flourishes. They’re to play with expectation too, of course.
Fear’s a competently executed narrative with a nice kicker.
Written and directed by Patrice Leconte; director of photography, Jean Gonnett; edited by Marguerite Renoir; produced by Pierre Braunberger for Les Films de la Pléiade.
Starring Marianne di Vettimo (Clara) and Michel Such (Antoine)