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too many visits to all-you-can-eat buffet spreads. But Claude manages to coerce Gerard into a very understated, perfectly pitched performance as a middle-aged detective on vacation who cannot leave a local murder case alone. Complicating matters, as they always do in Chabrol, is Bellamy's visiting brother and his chummy relationship with the detective's far younger and attractive wife.
Chabrol, such is his charm that has taken me a couple of decades to appreciate, doesn't vary the tempo very much; he eschews ALL the clichés of the genre, never indulging in car chases, lead character bravado. Rather, a steady and evenly-paced accumulation of facts and relationships emerge that eventually convince the wary observer that NOTHING is as it first appears, that all the characters are singular individuals--- we assume their future actions from what we know of them at our own risk: after a few Chabrol films, it is best just to lean back and be prepared for the tiny explosions to erupt where least you expect.
I don't think it would be terribly incorrect to view Chabrol as the equal of Rohmer in exposing the Human Condition--- except that Chabrol uses violence as the lens.
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