Just Before Nightfall
(1971)
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Just Before Nightfall
(1971)
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| Cast overview, first billed only: | |||
| Michel Bouquet | ... |
Charles Masson
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| Stéphane Audran | ... |
Hélène Masson
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François Périer | ... |
François Tellier
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| Jean Carmet | ... |
Jeannot
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Dominique Zardi | ... |
Prince
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Henri Attal | ... |
Cavanna
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Paul Temps | ... |
Bardin
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Daniel Lecourtois | ... |
Dorfmann
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Clelia Matania | ... |
Mme Masson
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Celia | ... |
Jacqueline
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Pascal Gillot | ... |
Auguste Masson
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Brigitte Périn | ... |
Joséphine Masson
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Marcel Gassouk | ... |
Barman
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Anna Douking | ... |
Laura Tellier
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Roger Lumont | ... |
Commissaire Delfeil
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Charles Masson, an advertising executive, is having an affair with Laura, the wife of his best friend, the architect François Tellier. Charles strangles Laura when one of their S&M games goes too far. Dazed, Charles walks out of the borrowed apartment in Paris and soon bumps into François in a nearby bistro. They drive back together to Versailles, where they have beautiful neighboring houses designed by François. The owner of the apartment had seen Laura and Charles together two months earlier, but she does not tell the police on the advice of François. Even though the police do not seem to have any clues to the crime, Charles has a difficult time coping with the situation, and trying to live a normal life with his two children and loving wife Hélène. Written by Will Gilbert
This is the most morally exquisite of Chabrol's many explorations of the human condition. Guilt, forgiveness, revenge coexist and mutually triumph. Many of us assume these three moral stances are mutually incompatible. Chabrol balances them against each other and then fuses them together. The actors reveal their inner dilemmas with gestures more than words. Deep intentions run across surface motives. And the final gesture of this compelling film casts all that went before into another, deeper level. Of course, no deed is as simple as it seems. But few appreciate as Chabrol does here that our all too common morally mixed motives can continue to coexist to the grave. No evil deed is ever straightforward, but neither are the best ones.
Had Chabrol filmed this in the style of Bergman, this film would be a Criterion Classic. But filmed as a thriller, it has sadly failed to gain the audience and admiration it so richly deserves. It is a philosophical triumph!