The Scapegoat (Virago Modern Classics)

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He thinks the only motive force in human nature is "GREED". People in Jean de Gue's life were never satisfied--[from his point of view]. Daphne du Maurier was obsessed with the past. She intensively researched the lives of Francis and Anthony Bacon, the history of Cornwall, the Regency period, and nineteenth-century France and England. Above all, however, she was obsessed with her own family history, which she chronicled in Gerald: A Portrait, a biography of her father; The du Mauriers, a study of her family which focused on her grandfather, George du Maurier, the novelist and illustrator for Punch; The Glassblowers, a novel based upon the lives of her du Maurier ancestors; and Growing Pains, an autobiography that ignores nearly 50 years of her life in favour of the joyful and more romantic period of her youth. Daphne du Maurier can best be understood in terms of her remarkable and paradoxical family, the ghosts which haunted her life and fiction. Years of study, years of training, the fluency with which I spoke their language, taught their history, described their culture, had never brought me closer to the people themselves. I was too diffident, too conscious of my own reserve. My knowledge was library knowledge, and my day-by-day experience no deeper than a tourist’s gleanings. The urge to know was with me, and the ache. The smell of the soil, the gleam of the wet roads, the faded paint of shutters masking windows through which I should never look, the grey faces of houses whose doors I should never enter, were to me an everlasting reproach, a reminder of distance, of nationality. Others could force an entrance and break the barrier down: not I. I should never be a Frenchman, never be one of them." The Scapegoat was made into a film in 1959 starring Alec Guinness and Bette Davis. Additionally there is a 2012 film with Matthew Rhys which is based on the novel. However this is not set in France but in the UK in 1952 just before the coronation. Teacher John Standing, who has just lost his job, meets his doppelgänger Johnny Spence, a failed businessman. Thus none of the French associations are there, and in fact the story is entirely different, with different characters, different major and critical episodes - and even a different ending! Soon John finds himself enmeshed in a complicated web of lies and intrigues, with a grand house full of women and various strangers, most of whom seem angry at him. And then there is a great big beastly woman upstairs he is astounded to find looks like himself but in drag with a huge amount of flesh added on; Jean's mother, which he can't help but call 'maman' and feel real affection for. Nobody takes him seriously when he tells them outright he is not Jean, but an Englishman called John, and that the real Jean has made off with his clothes and his car; they all dismiss his story as yet another one of Jean's pranks, or a consequence of too much drink. Instead a man angrily demands how the trip to Paris went and whether he's gotten the papers signed. John slowly untangles the mystery, starting with figuring out who the various individuals are, what Jean was meant to do in Paris, why everyone is angry with him, and then, taking a liking to the man's various family members and employees despite their faults of character, trying to improve everyone's life and atone for Jean's shortcomings, bumbling along all the while.

Or, have many people counting on you - wife - mother - daughter - brother - sister-in-law- friends with benefits - business associates- and feel resentful? One of the triggers was that while out for a walk in a square in a French town, Daphne du Maurier saw a man who looked identical to someone she happened to know. According to one of her biographers, Judith Cook, she then watched a family scene through a window, and began to put the two incidents together in her feverish imagination. Typically, she began to wonder about the people; who they were, and what their secrets might be,Daphne weaved a compelling tale from the off, from the mystery of the identical men to the shit-show that Jean's life is; but where she excels is the intricacies of the extended family's life and history; the multiple distinct voices and relationships with Jean, and then John, and just overall taking a superb suspense thriller and making it much more, very much more! 9 out of 12. Take a look around you, at all those vast legions of cynical, weary, burnt-out souls - lost in their private hells. The secret of life is to recognize the fact early on, and become reconciled. Then it no longer matters". chauffeur believes him to be drunk and when he enquires after the 'gentleman I was with last night' (p.30) the hotel receptionist has no knowledge of him. John decides that if 'he I really wasn't expecting to get completely hooked to this story, but after a certain point that was exactly what happened and I didn't care about anything other than what was going to happen next at St. Gilles!

You see, the evil In this world never sleeps - but we’ll never know it if we’re hypnotized by all the glitz & glam of the entertainment world... I wondered how much further I had to fall, and if the sense of shame that overwhelmed me was merely wallowing in darkness... I had played the coward long enough." The Scapegoat is the first film production [1] for Sarah Beardsall and Dominic Minghella's production company, Island Pictures. [2] Filming on The Scapegoat began in London in November 2011. [3] when Marie-Noel had gone missing, Françoise worried that 'the child might have turned against her. She is too fond of her papa, she said, and of Mademoiselle Blanche' There's a fair amount of suspension of disbelief that is required on the part of the reader, but du Maurier is so skilled at engaging us, there were very few times that I stopped or scratched my head. I was only too happy to be along for the ride. The way she slowly reveals information is well timed, a natural unfolding.If you have ever read any of Daphne du Maurier’s novels, you will immediately recognize what I mean when I say the narrator here is another of her identity-free individuals. Like the new Mrs. De Winter in Rebecca or the tour guide brother in Flight of the Falcon, this narrator is a person without any sense of importance, sense of self or sense of his own value. He is so unloved and disconnected that he can assume another man’s life and involve himself immediately in the other man’s world to the point of burying himself inside the other man’s skin.

There are recurring themes in this novel. Take the motif of a broken ornament, for instance. In "Rebecca", the episode where the new wife accidentally destroys a valuable china ornament given to her predecessor (Rebecca) on her marriage, and becoming a particular favourite, is powerfully symbolic. Here there is a similar event involving Anne-Marie and her mother, and a porcelain cat and dog,I must admit to feeling a little nervous about taking on this book. Novels of 'a certain age’ really aren’t my thing, I seem to struggle with everything about them. If it's not the stilted or overblown language it is a plot that feels horribly tame and dated. If there’s a phobia attached to reading these books, then I have it. I’d never read a book by Daphne du Maurier before so I wasn’t sure quite which I'd get - the overblown or the stilted - but I was confident the plot would be asinine. And guess what, I was right! But I was also wrong… The Scapegoat (1959 film), an adaptation of the du Maurier novel, starring Alec Guinness and Bette Davis The basic plot is that a Frenchman in his early 40s runs into another man, an Englishman in his early 40s, who is a body double of him (doppelgänger). By clever means and not to his liking the Englishman finds himself forced to impersonate the Frenchman and inherits the Frenchman’s life and family…a brother and a sister and a mother and they’re all messed up to varying degrees, and a wife, and she is unhappy because her husband has been essentially ignoring her and only married her for a potential buttload of money if she produces a son for him (complicated legal arrangement regarding her dowry). Oh and that’s just the beginning…he inherits a precocious 11-year old daughter, a sister-in-law (who he is having an affair with), a valet, a mistress, a glass factory that is floundering… And given this is a du Maurier novel there have been sinister things happening well into the past…that this Englishman now fake Frenchman is going to have to deal with. Perhaps vaguely reminiscent of ‘Heaven Can Wait’, a film from the late 1970s starring Warren Beatty and Julie Christie (and a gaggle of other good actors)…although that was a comedy/love story when push comes to shove. Not a whole lot to laugh at in this novel. In fact nothing really. men who look exactly alike, a teacher and a wealthy business man with a complicated personal life and business in trouble meet. The teacher inhabits the life of the business man who disappears. It's quite delightful and perfectly written how he interacts with the family members and romantic entanglements of the wealth man.