Placing this in my watch list on Mubi along with the other title by film maker Claude Chabrol currently on the site: The Flower of Evil (2003-also reviewed) I originally planned to watch them near the end of the month,until I saw a post on Dan Murrell's Discord which mentioned that this title was about to leave the site, which led to me rushing to put on the mask.
View on the film:
Merrily having the band on the TV show within a film play the theme tune to Alfred Hitchcock Presents, and pouring an (intentional) syrupy love score by his son Matthieu over Wolf's romantic embrace of Catherine, co-writer (with occasional collaborator Odile Barski) / directing auteur Claude Chabrol & The Umbrellas of Cherbourg (1964-also reviewed) cinematographer Jean Rabier serve up a mischievous atmosphere, scanning over the luxury meals Legagneur presents to his family and guest every day, (food being a major recurring motif in Chabrol's works) and landing on close-ups of the residences dressed in colour coded fashions, reflecting the flashy lifestyle of those in the household.
Listening in on a conversation between Wolf and Legagneur with an excellent crane shot that runs across the vast courtyard of the household, and goes through a window in order to eavesdrop, Chabrol continues to expand on his distinctive, fluid camera moves, via gliding arc shots and elegantly composed reflective shots in mirrors, shining on the doubts Wolf has over the discreet charms of Legagneur.
Lapping up cheers from the crowd, Philippe Noiret gives a tasty performance as Legagneur, whose grin is half wide-smile,and half murderous snarl, whilst Robin Renucci gives a great calm, introvert performance as Wolf, whose shell Renucci snaps open,as Wolf's questioning of Legagneur becomes more inquisitive.
Reuniting with Chabrol round the dining table, Bernadette Lafont gives a delightful performance as a masseuse, who Lefont has jump about between the gossip exchanges with Wolf and Legagneur, whilst in her debut performance, Anne Brochet gives a wonderfully hazy performance as Catherine, who Brochet has become increasingly visible with fear,as Legagneur needles her with his deadly plan.
Following Wolf wearing a mask as a reporter in order to hide his true identity from Legagneur, the screenplay by Barski and Chabrol builds on Chabrol's major recurring theme in his works of exposing a decaying, viciousness barely hidden behind the decadent livelihood worn by those who partake in the discreet charm of the bourgeoisie, which the writers strike here with a wicked comedic streak in Legagneur's growing passive-aggressive dialogue towards Wolf,who once he uncovers the mystery, decides to leave everything unmasked.
View on the film:
Merrily having the band on the TV show within a film play the theme tune to Alfred Hitchcock Presents, and pouring an (intentional) syrupy love score by his son Matthieu over Wolf's romantic embrace of Catherine, co-writer (with occasional collaborator Odile Barski) / directing auteur Claude Chabrol & The Umbrellas of Cherbourg (1964-also reviewed) cinematographer Jean Rabier serve up a mischievous atmosphere, scanning over the luxury meals Legagneur presents to his family and guest every day, (food being a major recurring motif in Chabrol's works) and landing on close-ups of the residences dressed in colour coded fashions, reflecting the flashy lifestyle of those in the household.
Listening in on a conversation between Wolf and Legagneur with an excellent crane shot that runs across the vast courtyard of the household, and goes through a window in order to eavesdrop, Chabrol continues to expand on his distinctive, fluid camera moves, via gliding arc shots and elegantly composed reflective shots in mirrors, shining on the doubts Wolf has over the discreet charms of Legagneur.
Lapping up cheers from the crowd, Philippe Noiret gives a tasty performance as Legagneur, whose grin is half wide-smile,and half murderous snarl, whilst Robin Renucci gives a great calm, introvert performance as Wolf, whose shell Renucci snaps open,as Wolf's questioning of Legagneur becomes more inquisitive.
Reuniting with Chabrol round the dining table, Bernadette Lafont gives a delightful performance as a masseuse, who Lefont has jump about between the gossip exchanges with Wolf and Legagneur, whilst in her debut performance, Anne Brochet gives a wonderfully hazy performance as Catherine, who Brochet has become increasingly visible with fear,as Legagneur needles her with his deadly plan.
Following Wolf wearing a mask as a reporter in order to hide his true identity from Legagneur, the screenplay by Barski and Chabrol builds on Chabrol's major recurring theme in his works of exposing a decaying, viciousness barely hidden behind the decadent livelihood worn by those who partake in the discreet charm of the bourgeoisie, which the writers strike here with a wicked comedic streak in Legagneur's growing passive-aggressive dialogue towards Wolf,who once he uncovers the mystery, decides to leave everything unmasked.