Word: clouzot
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...PERENNIAL success of Hitchcock at the box office shows fear to be a popular commodity. In the American film world, shock and suspense are synonymous with Hitchcock. In France, the leading master of fear is Henri-Georges Clouzot...
...Wages of Fear (1953) has been generally and rightly acclaimed as Clouzot's most accomplished film to date. The sharply and subtly drawn development of the often implicit relationships between characters takes place in a cauchemaresque and lurid atmosphere to form a totality more impressive than Hitchcock's greatest. For Hitchcock, the most important thing is suspense, so that many other things, such as depth and flexibility of character, are sacrificed to the single aim of scaring the collective pants off his audience. Suspense is an essential element in Clouzot as well, but the three-dimensionality of his characters...
...Wages of Fear is about four men who are employed by some pretty unattractive American big businessmen who run an oil company in South America. Their harrowing task is to transport truckloads of nitroglycerine to an oilfield to blow out a blazing fire there. Clouzot takes great pains in getting across the proper atmosphere. The first half of the film or so is devoted to probing the squalor, primitivism, and baseness of the town. Clouzot had spent some time in Brazil working on a documentary, and his intimate familiarity with the repellent conditions in towns used as bases for American...
...ATMOSPHERE which Clouzot creates unifies, envelops, and relentlessly corrodes every human being that fate has placed there. Any human pretensions or illusions they may have borne are gnawed at and peeled away until they are reduced to the level of pure animalism which is their reality. Clouzot had explored this Bunclesque notion of human degradation in Le Corbeau, a film be made during the war, in which a series of anonymous letters written to the residents of a small provincial town lead them to suspect and maliciously attack one another. The Nazis used the film to demoralize the French...
Henri-Georges Clouzot (The Wages of Fear, Diabolique) is a French film maker whose stock in trade is grafting psychological aberrations onto standard and somewhat sleazy melodrama. In La Prisonnière, his first film in eight years, Clouzot once again mixes an ordinary story with kinky characters, a soupçon of violence, and a touch of Krafft-Ebing just to add some spice. The result is pat, predictable and more than a little distasteful...