Paul Vecchiali’s moody, labyrinthine The Strangler suggests the visual style of Jacques Demy’s Model Shop coupled with the psychosexual fervor of Michael Powell’s Peeping Tom. Or maybe it’s more accurate to say that it’s a queer version of Jean-Pierre Melville’s Le Samouraï by way of the story machinations of Claude Chabrol’s The Champagne Murders. Either way, it’s clear that Vecchiali’s interests are cinephilic in nature, and that this 1970 psychological thriller was his self-conscious attempt during the waning years of the Nouvelle Vague to take the movement’s genre-defying sensibilities in a new direction.
Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...
Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...
- 11/13/2023
- by Clayton Dillard
- Slant Magazine
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.