Word: clouzot
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Dates: during 1950-1959
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...part of the museum's Picasso exhibit. In it Picasso undertakes to paint a new canvas from scratch before the camera's eyes. Naked to the waist, white hair bristling on his chest, Picasso proclaims with calculated drama: "One must risk everything." Ad-libs Director Henri-Georges Clouzot solemnly: 'That's going to be dangerous." Says Picasso: "Out, that is what I seek." While the camera watches, Picasso designs a beach scene, takes the theme through a series of dexterous variations. Suddenly he rumbles, "It is going badly," pauses, then adds, "It is going very, very...
...ghoulish and gross, and is never very subtle. The ending, quite as startling as the man in the yellow shirt had you believe, induces a feeling of mental ineptitude. You wonder whether you weren't paying attention at the critical moment; perhaps it's because the director, Henri-Georges Clouzot, is simply a very clever...
...Clouzot has taken a rather average situation and applied a magnificent twist. The deceitful and domineering husband has wife trouble. He openly flirts with his mistress, a teacher in a boarding school of which he is headmaster. His wife has money and she wants a divorce. This would be a bad thing. Propriety, and Madison Avenue, forbid further detail here...
...intensity is slow to generate; interest is sustained, though perhaps not as much as it might, by concentration on the emotion of the distraught wife. Some scenes are grotesque, but they are never offensively so. Paul Meurisse, brutal and dynamic, plays the lecher of women and money. Vera Clouzot, palpitating in guilt and disease, is morally both noble and weak as his wife. Simone Signoret, a Shelley Winters of the Champs Elysees, is calm and ecstatically vengeful. The composite is queer, probing, and quite perfect...
Wages of Fear. The year's most terrifying film: France's Henri-Georges Clouzot watches four rats die in a Latin American trap (TIME...