When Betty is caught en flagrante, her bourgeois in-laws and husband force a divorce settlement upon her and bar her from seeing her two daughters. She is rescued from an alcoholic stupor ... See full summary »
In a small Breton town, a 10-year-old girl is found murdered. René, her art teacher, a professional painter, is the last person to have seen her alive. The inspector in charge of the ... See full summary »
Antoine de Caunes
Francois comes back to his home village in France after more than a decade. He notices that the village hasn't changed much, but the people have, especially his old friend Serge who has ... See full summary »
A retelling of the Greek myth of Phaedra. In modern Greece, Alexis's father, an extremely wealthy shipping magnate, marries the younger, fiery Phaedra. When Alexis meets his stepmother, ... See full summary »
While traveling to a resort in Tunisia, the magician and clairvoyant Professor Vestar befriends the idle millionaire Edouard Vangard and he offers a ride in his car. Vestar discloses to ... See full summary »
Just released from prison, a young woman arrives in town to "start a new life", but soon begins stalking a married construction worker for no apparent reason, turning his life inside out and eventually terrorizing him and his wife.
Once things do get going there are some great scenes
This is not really an early Chabrol who had already been making films for over fifteen years but it does come just before he fully got into his stride and his golden period began with Le Boucher. Fascinating here to see Anthony Perkins with Maurice Ronet and the lovely Stephane Audran, not sure if he knew English or was dubbed but he looks fine. Trouble here is that Chabrol takes forever setting this up and we have to spend what seems an interminable amount of time as the rich are seen to party pathetically with their business transactions forever hovering. Once things do get going there are some great scenes and we struggle to make out who is doing what and for why. Could have done with some of that cinematic style early on but certainly worth a watch for the second half. Apparently referenced in Kill Bill 1 and 2 and I'm guessing that it is the final overhead scene shot in retreating fashion that could Tarantino's eye.
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