Category Archives: Claude Chabrol

2004 Films, Claude Chabrol, French, International, International Thriller, Thriller

The Bridesmaid-2004

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The Bridesmaid-2004

Director Claude Chabrol

Starring Benoit Magimel, Laura Smet

Scott’s Review #548

Reviewed December 14, 2016

Grade: B+

A more modern offering by Claude Chabrol, (many of his films were made in the 1960s and 1970s), his 2004 film entitled, The Bridesmaid, continues the tradition of compelling, macabre, story-telling immersing the viewer in strange behavior by the central characters, as they obsess over each other in one way or another.

The film is in the French language.

The Bridesmaid contains two plots- one explored fully, the other not explored as much as might have been hoped- the latter being the more interesting of the two.

Philippe is the only son of his mother, Christine, and the only male in the household- his two other sisters live there as well. Christine is divorced and works as a hairdresser.

The family is a rather typical one save for a creepy incestuous bond between Philippe and Christine-very romantic in their conversations with each other, and Philippe’s penchant for carrying around a head statue carved to resemble his mother.

He regularly sleeps with the statue and kisses it on the lips.

As the youngest daughter is to be married, Philippe meets and bonds with one of the bridesmaids- Senta. The two embark on a torrid love affair and become inseparable. As their love flourishes, Senta becomes obsessive in her undying love for Philippe and asks him to kill a stranger as a way of proving his love for her.

This leads to confusion as Senta kills another character, thinking this is what Philippe wants. Philippe becomes both afraid and titillated by the young girl.

The main plot is very reminiscent of the Hitchcock classic, Strangers on a Train, as one party is bloodthirsty and the other a more innocent victim of the plot, yet in Chabrol’s film, the other party suffers from issues of their own in the emotional sense.

Senta is unbalanced, and a mysterious figure from her past- Rita- described as her stepmother, appears a few times, as she dances with her much younger partner.

A local girl mysteriously disappears early on in the film, which may be a red herring to the stories, or perhaps related to all the events of the film.

I was more intrigued by the mommy/son angle, but perhaps that is Chabrol’s way of confusing the audience. Oddly, the duo has simmering chemistry, yet each character never fesses up to being obsessed with the other- it is merely implied.

Philippe dislikes Christine’s beau, who figures prominently in the main story of Senta’s machinations, but I wanted more of Christine and Philippe.

Stylistically, The Bridesmaid is dreamy and builds at a slow momentum, similar to Chabrol’s earlier films- we are aware that the story will play out in a strange, interesting fashion, but we do not always know just what road Chabrol might take, nor what plot points may or may not be revealed.

Perhaps less developed than some of his fantastic earlier efforts, but a recommended watch for someone in the mood for a morbid, left of center, story to sink one’s teeth into.

Claude Chabrol is a director I admire greatly for his use of fascinating elements that keep the audience guessing as to what is coming next, and this is a joy in itself.

1959 Films, Claude Chabrol, Drama, French, Gérard Blain, International, International Drama, Jean-Claude Brialy, Juliette Mayniel, Stéphane Audran

Les Cousins-1959

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Les Cousins-1959

Director Claude Chabrol

Starring Gerard Blain, Jean-Claude Braily

Scott’s Review #402

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Reviewed May 5, 2016

Grade: A-

Les Cousins is a 1959 Claude Chabrol French-language film.

Made in black and white and set in Paris, the focus is on metropolitan life as seen from the perspective of one of the main characters, who is from the country and far removed from the bustle and complexities of city life.

The focal point is contrasting traits- personality, background, and otherwise. The film delves into psychological aspects that lend themselves to making the film a character-driven thought-provoking experience.

Les Cousins is open to many interpretations. The film, therefore, has many nuances to ponder and sink one’s teeth into deep thought.

Les Cousins is about two male cousins, Charles and Paul.

They appear to be similar in age and are both law students, but opposites in almost every other way. Paul is the alpha male- self-centered, quick-tempered, and forceful. Living an affluent life in the heart of Paris, he has many friends, is a social butterfly, and has no filter with his criticisms and judgments of others.

Charles, on the other hand, has a completely different set of qualities. Sent by his mother to live with Paul and study for the agonizing, impending law exam, Charles is meek, quiet, and insecure.

When Charles meets Florence, a beautiful friend of Paul’s, who has a reputation for “sleeping around”, Charles falls madly in love with her, almost love at first sight, unaware of her reputation.

What follows is a strange triangle between Paul, Florence, and Charles that is laced with jealousy, revenge, and ultimately violence.

Each of the three principal characters and their relationship with each other is interesting to ponder and is at the heart of the film.

When Paul realizes that Charles is in love with Florence is he disturbed by this turn of events? Does he feel sorry for Charles or elicit some perverse joy in bedding Florence in front of Charles? If so, why does he resent Charles?

Is Florence in love with Charles or is it a guise? Does she even realize the extent of his love for her? A sexually expressive woman, she is not outlandish in her appearance and seems quite virginal to the outside viewer.

Does she enjoy the fact that the unwitting Charles sees her as pure? Does she wish that she was virginal?

Finally, the complexity of Charles’ character is mysterious. We learn that he writes letters to his mother to give updates on his studying habits and exams.

Does he harbor resentment toward his mother? Is he a “mama’s boy”? Is he overwhelmed in the city? Does he truly love Florence (tough to believe after one or two dates) or yearn for the freedom that she represents?

We see countless scenes of Paul and his good-looking friends engaging in various forms of merriment, usually in his modern apartment, overlooking the city.

He is affluent. Is this the main reason for his popularity?

The party-goers are all well-dressed and very good-looking- sort of a fraternity party for the exceptionally tailored if you will.

Interestingly, a female couple- appearing to be a lesbian couple- featured numerous times at the parties. Is this meant to show Paul and Parisians as open-minded and progressive?

A revolver- with only one bullet in a six-chamber gun prevalent throughout the film in a Russian roulette sequence comes into play after the film.

Without completely revealing the ending, someone is mortally wounded in the last sequence and we are left to ponder what happens now.

Are the survivors lives forever changed and ruined? A knock at the door just before the credits roll leaves us wondering who is there.

My one complaint about Les Cousins is that it takes a long time to get deep into the complexities of the film and I was left pondering after it ended more than I was completely engaged throughout.

I also wondered if the pompous and over-indulgences were slightly overdone to elicit more audience reaction and contrasting elements between Paul and Charles.

A French new wave experience by one of France’s best directors, Les Cousins is a character study of three interesting characters that leave the audience thinking about their lives past, present, and future, comparing their idiosyncrasies, actions, and thoughts to delve deeper into their psyches.

1969 Films, Claude Chabrol, French, International, International Thriller, Stéphane Audran, Thriller

La Femme Infidele-1969

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La Femme Infidele-1969

Director Claude Chabrol

Starring Stephane Audran, Michel Bouquet

Scott’s Review #397

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Reviewed April 23, 2016

Grade: A-

Another gem by French director Claude Chabrol, La Femme Infidel (The Unfaithful Wife) is a 1969 film later remade in the United States in 2002, directed then by Adrian Lynde.

Having seen the remake a few times before watching the original, I cannot help but compare the two films, which in itself is fun for me since both films are vastly different from one another, especially as I find myself further pondering each.

One is more conventional- the other more psychological.

Successful insurance executive Charles Desvallees lives in the suburbs of Paris with his beautiful wife Helene and their young son.

Life is seemingly idyllic, as they enjoy every luxury imaginable beautiful house with a beautiful landscape and a dutiful maid.

Charles has a sexy secretary, smokes, drinks, and enjoys life at work and Helene frequently goes to Paris for shopping sprees, beauty treatments, and to attend the cinema.

What could be missing from their lives?  Helene is a bored housewife and has embarked on an affair with Victor Pegalla, a writer who lives in Paris.

When Charles grows suspicious of Helene, he hires a private investigator to track her activities and reveal the true story of how she spends her time.

Admittedly, I was highly influenced by Unfaithful, the 2002 remake starring Diane Lane and Richard Gere when I viewed La Femme Infidel.

The remake is set in New York instead of Paris and is more polished and less psychological- a Fatal Attraction-type slick thriller if you will.

The “other man” is much sexier and more passionate, and the connection is more primal than in the original. This changes the tone of the film from a sexual and lustful one to a more complex and psychological dynamic- La Femme Infidel is a more thinking man’s film.

Victor is handsome and well-groomed, but he is rather similar to Helene’s husband, so we wonder what the main appeal is- if she is seeking adventure.

Lane’s 2002 character’s choice is easy- her affair is based on the physical attractiveness of the man. 1969’s Helene is not having her affair for that reason-, the reasons, besides boredom, are unclear, making the film more complex.

When the main action (death) occurs at the midway point, the film goes in a different direction and becomes complicated. No longer is the main plot of Helene’s adultery, but rather what Charles has done and the repercussions bound to follow.

Do we see Charles as the villain and Helene as the victim? Who do we feel sorry for? Do we root for anyone? Certainly, the character of Victor is not explored in much depth. What are his motivations? Is he in love with Helene?

Helene is an interesting character. Is she meant to be sympathetic or hated? Or just complex?  One can interpret her in different ways- the woman has it all beauty, a faithful husband, and a wonderful home life- why does she risk sacrificing it all for a fling?

Does she dare to want more out of her life and have some adulterous fun? It does not seem that Helene is in love with Victor or has any desire to run away with him or leave her husband.

Charles is also a character to be analyzed closely.

Throughout the film’s first portion, he is seen as a victim- his gorgeous wife has mysterious contempt for him and plays him for a fool. She spends his money and cheats on him, while he adores her and resists his young, flirtatious secretary, who has a thing for Charles and wears short skirts seemingly for his benefit.

She is much younger than Helene. Later, his character’s actions and motivations shift from victim to arguably brutish and primal. A momentary outburst changes his motivations and the texture becomes calculating.

In the end, Charles and Helene come together and resume normalcy in their lives, but will things ever be the same? Will the trust ever reappear in their lives? Is Helene now afraid of or intimidated by her husband or rather, does she now have a newfound desire for her alpha, take-charge husband?

The 1969 version of La Femme Infidel is layered, complex, interesting, and left me thinking about the film and that is a very good sign.

The remake, while very good, is more of a blockbuster, produced kind of film, while the original goes more for thought.

The lack of sex appeal in Victor is a negative of the film as are his motivations, but the character-driven nuances of the other characters make this a thought-provoking watch.

1978 Films, Bernadette Lafont, Claude Chabrol, French, International, International Thriller, Isabelle Huppert, Stéphane Audran, Thriller

Violette Noziere-1978

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Violette Noziere-1978

Director Claude Chabrol

Starring Isabelle Huppert

Scott’s Review #378

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Reviewed February 16, 2016

Grade: B+

Another in the legion of thrilling and mysterious films by French director Claude Chabrol, Violette Noziere (1978) tells the true story of an eighteen-year-old Parisian girl, who plots her parent’s murder in 1930’s France.

The fact that the tale is true to life makes it even more horrific and mesmerizing.

It is beautifully shot, though the action largely takes place in interior settings.

This film is a cerebral experience.

The film is classy in every way- like French films typically are, and Isabelle Huppert (Violette) takes center stage. She is gorgeous and interesting-looking (reminiscent of a young Jennifer Jason Leigh) in the lead role.

Violette appears to be a typical French teen but harbors a dark secret and something always appears glum about the character. She works nights as a prostitute accosting wealthy men.

When she meets handsome but spendthrift, Jean Francois, a young man she fancies, she becomes his main source of income and slowly begins to plot the murder of her low-income, yet stable parents, in an attempt to inherit their apparent savings.

The story is somewhat murky as Violette’s version of events (mainly in the past and concerning her father) is accusatory. She insists that her father sexually abused her as a child, but is this in her fantasy world, or did this happen? One never knows.

Making the film compelling is that Violette’s parents are quite likable. Struggling to make ends meet and provide quality life, they prepare home-cooked meals, enjoy life, and appear to be decent people.

What is the reality?

Later, we witness a rivalry between Violette and her mother. In one scene we see Violette’s father bouncing his daughter on his knee while the mother looks on filled with hatred.

When she attempts to seduce her husband, unsuccessfully, Violette looks on amused. Is this solely in Violette’s mind?

Chabrol, an admirer of Alfred Hitchcock, keeps the suspense going throughout the film, but the heart of the film belongs to Huppert.

From the start of the film, amid meaningless banter with her more refined girlfriend, the audience can tell there is something amiss about Violette. She seems lonely, like a lost little girl yearning for some excitement as her eyes stare into the distance.

Her true colors are slowly exposed, yet Chabrol never makes her all-out crazy. Violette always has a cool, calm, demeanor and that is why the film succeeds.

For fans of Chabrol, or film fans eager for a foreign language treat, Violette Noziere is a rare find, a welcome addition to the growing number of his films I have watched with interest, and heartily enjoyed.

The mystique, the beauty of the artistry, and the twists and turns are top-notch.

1960 Films, Art, Bernadette Lafont, Claude Chabrol, French, International, International Thriller, Lucile Saint-Simon, Stéphane Audran, Thriller

Les Bonnes Femmes-1960

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Les Bonnes Femmes-1960

Director Claude Chabrol

Starring Bernadette Lafont

Scott’s Review #303

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Reviewed December 19, 2015

Grade: A

Les Bonnes Femmes (1960) is a French film by Claude Chabrol, a wonderful director whom I was shamefully unfamiliar with, save for the recently viewed Les Biches, made in 1968.

He has been labeled the French equivalent of Alfred Hitchcock which is an accurate statement.

Les Bonnes Femmes, is a brilliant film that came about during the experimental New Wave films of the 1960s and cannot be forgotten upon viewing it.

It has resonated with me and I cannot stop thinking and analyzing it.

The film centers on four shopgirls, living in Paris, all of whom happen to be young and beautiful and mysteriously look similar to one other.  Their names are Jane, Jacqueline, Ginette, and Rita.

They are rather bored with their lives and meander aimlessly through life and the doldrums of their job by looking forward to social occasions, which mainly include men.

The girls party (some more than others), date, go to the zoo, swim, and enjoy typical young lady festivities.

So far the film might sound like a typical, lighthearted, nice story- think a French Sex and the City. It is, by and large, this way on the surface, but throughout the film, there is a calm sense of dread- like something bad might be lurking in the shadows of coming around the bend.

As the girls are at the zoo one day, a mysterious individual begins following them, though the viewer has no idea why or who it is.

The film contains more than a sense of dread. Rather, a sense of chilling violence is in the air. A brooding, cold, ugly feeling transpires, due to superior direction and overall mood.

Paris, one of the world’s most gorgeous cities, looks bleak, dark, and gloomy throughout the film. The black and white cinematography undoubtedly adds to this as greyness envelopes every shot.

Throughout  Les Bonnes Femmes there is plenty of foreshadowing as situations arise that give a sense of danger or something bad is imminent.

Early in the film, two girls are walking along the street when they are approached by two men in a car wanting to party with them. They accept and the viewer wonders what a bad decision they may have made. The men wine and dine the women, who are looking for love.

One of the girls is quite a bit more reserved than the other and ends up spending the night with the men. Later, the owner of the shop tells a story of how she once acquired a serial killer’s bloody handkerchief after he was guillotined and has kept it for years.

Creepy? Yes.

The tigers snarling at the girls when they visit the zoo is laced with symbolism as is a, at first, fun game at the pool, as the men dunk the girl’s heads underwater until things escalate towards danger.

Jacqueline, the sweetest of the girls, meets a motorcycle man and spends time together. They are happy. The irony is that during these later scenes, in which an act of brutality occurs (one character is murdered), the tone is suddenly sunny, warm, and bright. A lovely afternoon in the woods turns evil, and quickly.

This was a shocking scene for me to experience as I was caught off guard. The ending of the film can be discussed in vast detail.

During the murder, it almost seems like the victim is welcoming death. Could this be? Additionally, is one of the shop girls his next intended victim, or is a new girl the killer’s next target?

In the final shot, we see him dancing with a girl, but it is unclear (at least to me) if it is one of the shopgirls.

Chabrol is not a happily-ever-after kind of director. His films are known to be stormy with dread looming. But they are also laced with style, sophistication, and a dark appeal.

I cannot wait to sink my teeth into more of his works.

1968 Films, Claude Chabrol, Drama, French, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Stéphane Audran

Les Biches (Bad Girls)-1968

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Les Biches (Bad Girls)-1968

Director Claude Chabrol

Starring Stephane Audran, Jaqueline Sassard

Scott’s Review #292

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Reviewed December 3, 2015

Grade: B+

Les Biches (translated to mean Bad Girls in English) is a French-Italian film from 1968 about a peculiar relationship between two women, one a wealthy, gorgeous, sophisticate named Frederique, and the other a poor, waif-like, struggling street artist named Why.

They embark on a tumultuous love affair marred by competition for handsome Paul Thomas, the local architect.

At its core, the film delves into the class struggle, lust, and violence.

The beginning of the film sets the tone as Frederique provides Why with a large sum of money as she stops to admire her art on the streets of Paris. She invites Why back to her lush villa in gorgeous Saint Tropez, where Frederique lets two outrageous gay men co-habitat with her.

The household is a circus of sorts as the men prance around wildly, but Frederique teaches Why about high society and good living.

Soon Paul is introduced to the story and takes a shine to Why. She calmly rejects him and Frederique then begins to fancy him, thereby emotionally rejecting Why and leaving her feeling out in the cold.

The film then takes a psychologically dramatic turn as the characters turn against one another.

I admire this film as it is an unorthodox story, especially for 1968. Same-sex stories are not the norm these days and the interesting key is that the classes are different.

Frederique has control and power over Why because she has money. Paul admires Why, but he cavorts with Frederique. Is he genuinely interested in her or does he value her money most of all?

The film never makes the distinction crystal clear, but one speculates it is the latter. Frederique uses her wealth (and beauty) to obtain what she wants- namely, Paul to spite Why.

Why is younger and fresher and has not been marred by the world…yet? The gay men are cartoon-like. It is not clear exactly who they are or why they live in the villa. Little background is known about any of the characters.

Foreign-language films, especially of the 1960s and 1970s are fascinating- filled with life and interesting facets and Les Biches is a prime example of interesting film-making.

A trip down the bi-sexuality lane with two gorgeous women at the forefront of the story, both struggling for power over the other, though one with a clear advantage.

Interesting to note that at the time of release is the film was touted as a lesbian skin-flick and humorously miss-thought to be entitled “Les Bitches” (perhaps to get audiences in the door), but is hardly a sex romp- quite the contrary as the psychological elements overtake everything else.

Les Biches (1968) is an odd little adventure, but one to be appreciated and traveled with an open mind if the mood is right. Stylish and interesting and certainly non-mainstream, it challenges the social norms of the day and provides certain Hitchcock-like elements, especially in the final chapter.

1970 Films, Claude Chabrol, French, International, International Thriller, Stéphane Audran, Thriller

(Le Boucher) The Butcher-1970

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(Le Boucher) The Butcher-1970

Director Claude Chabrol

Starring Stephane Audran, Jean Yanne

Scott’s Review #273

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Reviewed September 14, 2015

Grade: A-

(Le Boucher) The Butcher is a French thriller made in 1970 that is slow-moving at first but progresses to a dramatic crescendo as the latter part of the film escalates, and turns from plodding to cerebral mind-blower.

Mirrored after and inspired by director Alfred Hitchcock, The Butcher is surprisingly not quite horror (based on the title one might assume it is), but rather, an intelligent dreamy thriller.

Gorgeous schoolteacher Helene Daville is smart, confident, and filled with a zest for life. She tutors children needing extra help laughs with them and even lets one sip champagne during a wedding to try the taste of it. She enjoys living and the occasional adventure.

One day, at a wedding, she meets the local butcher, Paul Thomas, and they immediately hit it off as they tenderly walk home together. Cordial and kind, they develop a friendship and laugh together.

As time goes on, a series of killings begin to occur in the town.

Helene begins to suspect Paul of the murders and wrestles with her conflict between her budding love for him and her revulsion at the thought of being in love with a vicious murderer. Her conflict is the point of the film.

The relationship between Helene and Paul is an interesting dynamic and, I now realize, the reason for the slow pace of the picture. Helene and Paul enjoy a nurturing, caring courtship and the film successfully achieves the intended slow build.

The murder mystery is rather secondary and helps support the main plot. We know little- almost nothing- about the female victims. They are strangers to the audience and the reason for their deaths is unknown.

The killer simply kills- no motivation is revealed. This is what makes the film so cerebral and mysterious.

The Butcher is a love story intertwined with a thriller. It is not a mainstream thriller in the conventional sense and the final twenty or thirty minutes reeled me in completely and gave me great admiration for the film, which I had been hedging about throughout.

The meat of the film might have started an additional thirty minutes before it did in my opinion, but then again the slow build may have been intended to make the result more powerful. The moral conflict, love versus hate, tenderness, affection, caring, devastation, and betrayal are all explored during this relatively brief finale.

Besides, the blurry camera shots and angles from the vantage point of an automobile driver traveling down a dark, tree-lined street are highly creative and unique.

The comparisons to Hitchcock are evident.

Helene is similar to Tippi Hedren’s “Melanie Daniels” from The Birds. She is glamorous, alluring, blonde, tall, well-dressed, and the heroine of the film. Attractive and blonde are traits featured in many Hitchcock films.

Paul, on the other hand, reminds me of Rod Taylor’s Mitch, also from The Birds, though not as handsome or charismatic. Still, their relationship reminds me of the two of them as the chemistry oozes from the screen and a romance and thriller are combined.

Helene is perceived as a wholesome wonderful person by the audience, but is she truly?

In the end, we are left questioning her true feelings and are left with a distaste in our mouths. Her choices confuse us or is she simply a complex human being like each of us is?

The interesting aspect of The Butcher (1970) is it leaves one questioning how we would handle Helene’s dilemma, and more importantly, how we would channel our feelings if faced with a similar predicament.