Ambiguity
This book made me remember an old movie by the [[Coen Brothers]] called [[Blood Simple]], where nobody is really what they seem to be and moral ambiguity is the catalyst for surprising plot twists. In **Barre-Y-Va**, Leblanc experiments with ambiguity in many levels : from Raoul's split love for the beautiful sisters Catherine and Bertrande, to Béchoux's questionable affair with Charlotte, to Montessieux's complex family relationships. As a result, this is a more nuanced novel, with a much less black-or-white dualistic resolution and richer and deeper characters. There is no real villain in **ByV**, although the book does operate under the detective story framework.
Leblanc had already flirted with this kind of nuanced plot in "Thérèse and Germaine," one of the interconnected short cases of [[Arsène Lupin e as Oito Badaladas do Relógio]] where a complicated love triangle drives the crime resolution, but **ByV** moves a step further with a more intricate, multilayered story. Still, the ultimate cause for the mystery is within the realm of the same kind of natural phenomena or historical events that are deployed in other novels. Leblanc explores these like a [[National Geographics]] program (in his many books, he went from radioactivite rocks to secret treasures in medieval abbeys to submersed Roman cities to the tidal bore into the Seine), but what the characters do with it here is different. Leblanc strives to connect to Lupin's previous adventures using dialogs that are a little more expositional than easter-eggs, maybe trying to connect with a new generation of readers.
Indeed, Leblanc always seems very conscious of the cultural changes of his time and adapted the Lupin franchise to keep it fresh and alive. The humorous gags between Raoul and Béchoux are like Laurel and Hardy's, very different from previous interactions in [[Arsène Lupin e A Agência Barnett e Associados]]. On the other hand, the richer and deeper allegory of the novel makes the scene where Raoul and Béchoux can't tell if they go north or south, to Biarritz or Brussels, seemed to bridge this clown-ishness to more existential questions, as if innocence was about to end even for Lupin (the crimes he plans to solve are horrendous). The last chapter felt like **Circe** in [[James Joyce]]'s [[Ulysses]] (Bloom rescuing Dedalus as Lupin rescues Béchoux) and a prelude to [[Samuel Beckett]]'s [[Waiting for Godot]] :
> **ESTRAGON :** *Well, shall we go?*
> **VLADIMIR :** *Yes, let's go.*
> *They do not move.*
> *Curtain.*