Word: chabrols
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...between a backwoods postmaster and a ten-year-old girl who is his servant; The Conclusion is a comedy about a reluctant bride, ardent groom and spoiled mother. With minor changes of script, Two Daughters could have been made in rural Louisiana. The Third Lover. Equally understandable is Claude Chabrol's latest film, a chilling story about a self-centered young man whose envy drives him to ruin the happiness of a couple who befriend him. Chabrol, who launched the French New Wave, proves that with honest camera work and well-motivated plot films may be excitingly nouvelle without...
Landru. A highly colored documentary on France's World War I Bluebeard who killed ten women for their money. Françoise Sagan's script drips cynicism, but Claude Chabrol's provocative camera work and the archly stylized acting of the cast (Charles Denner, Danielle Darrieux, Michele Morgan) manage to make it worthwhile...
Director Claude Chabrol's choice of the dimple-faced Charrier to play his twisted protagonist brings a touch of spoiled boyishness to a role that might have been merely sinister in more virile hands. Much of the plot is forthrightly told in the first person by Charrier's own voice-an earnest of Chabrol's continuing drift away from the Marienbadian labyrinths and the Breathless ambiguities of some of his fellow New Wave moviemakers. Plain moviegoers are going to like...
Landru. A colorful (and highly colored) documentary on France's World War I Bluebeard who killed ten women for their money, Landru is the work of New Wave Pioneer Claude Chabrol and Past Mistress of Tristesse Francoise Sagan. Mile. Sagan's script drips cynicism, but Chabrol's provocative camera work and the archly stylized acting of the cast (Charles Denner, Danielle Darrieux, Michele Morgan) manage to make it worthwhile...
...black stove. One victim sees the coal scuttles for her own cremation, and noxious black smoke puffing from Landru's chimney*hints at similar fates for others. Each smoke signal cues a clip from a World War I newsreel showing doughboys going over the top to their death. Chabrol thus seems to justify his Landru (to whom he and Sagan are lavishly sympathetic throughout the film) by suggesting that killing is killing, whether it happens at Verdun or in Landru's kitchen...