Word: chabrol
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Lorraine, Rohmer moved to Paris, taught literature, worked as a reporter, wrote a novel. In 1950 he co-founded the Gazette du Cinéma with two other future filmmakers, Jacques Rivette and Jean-Luc Godard. Within a few years they - and François Truffaut and Claude Chabrol - were writing for Cahiers du Cinéma, which Rohmer edited from 1956 to 1963. No film magazine was so influential as Cahiers in those years. The young firebrands excoriated the prevailing French cinema and championed Hollywood directors like Howard Hawks, Samuel Fuller, George Cukor and Alfred Hitchcock. (Rohmer and Chabrol...
...midst of another long, overheated summer at the multiplexes, this slightly subversive thought occurs to me; maybe we should sub-contract most of our thriller business to the French. From Claude Chabrol to Francois Truffaut (and beyond) they've shown a very entertaining respect for American crime and mystery stories. They see that the pressures crime places on otherwise peaceable citizens the opportunity to explore authentic emotions without sacrifice of suspenseful entertainment...
...CLAUDE CHABROL COLLECTION...
...year before his film debut, Chabrol co-wrote a book on Hitchcock's oeuvre (with fellow critic and budding director Eric Rohmer). Of all the new-wave auteurs, Chabrol was the one who took Hitchcock's fancy for cinematic dread most to heart, then gave it his own twist. In deadpan tragedies like Le Boucher, La Femme Infidèle and The Beast Must Die, passion leads to crimes of passion, and crime to self-lacerating punishment. These films are all the more potent because they speak their evils and ironies in a Gallic whisper...
...Chabrol also learned from Clouzot, whose bleak, brilliant melodramas--Le Corbeau, Diabolique, Quai des Orfèvres--allow for few heroes. Most of the characters are a blend of victim and villain. The Wages of Fear is a tale of four desperate men trucking a ton of nitroglycerin across bumpy South American roads. It's a brutal ride, relentlessly tense and informed by Clouzot's stop-watch timing and a tone that effortlessly juggles machismo and misanthropy...