Word: piccoli
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...film's main characters, played to perfection by Audran and Michel Piccoli, are both middle-aged victims of unrewarding marriages. Picolli acts the part of a subordinate political figure wedded to a bed-ridden woman who is at once depressed and depressing. The sickly woman is self-conscious of the fact that she has made her husband's life dreadfully dull, but she is of neither mind nor body to change the course of things. The husband, were he to remain faithful to the invalid and to convention, would be condemned to the life of a wet-nurse...
...each other and the escape which their romance represents become uncontrollable. Like most people in their position they complain about having to sneak around, and console each other in their matrimonial misery. Unlike most people, though, they decide to release themselves from their bondage. Their means are incredibly simple: Piccoli poisons his infirmed wife and conspires with his lover to beat her husband to death during a midnight trip to Paris...
WEDDING IN BLOOD. Two married lovers (Stephane Audran, Michel Piccoli) are driven by their shared need and the transports of passion to commit murder. This woebegone plot, written and directed by the sometimes masterly Claude Chabrol (Le Boucher), needs all the voltage it can stand. From Chabrol and his stars, it gets only a few anemic charges. The paramours are intrepidly bourgeois, their longing for each other so squalidly selfish and narcissistic that every time they paw each other they seem to be polishing a mirror. They lavish the sort of affection and attention on each other that...
Wearing bright orange rubber gloves that extend just past the French cuffs of his delicate shirt, Michel Piccoli lifts the head of a slaughtered calf high above his own head. "To be, or not to be," he screams in a shrill voice. Ugo Tognazzi makes a loud farting noise, tongue between his lips, and the feast begins. Kidneys bourguinon. Kidneys bordelaise. Crayfish a la Mozart. Each dish has an identity of its own, but the diners ignore all subtlety in order to concentrate more conscientiously on their suicidal quest. Marcello Mastroianni stuffs down six clams in one bite. Grubby fingers...
...soft-core pornography weaken The Grande Bouffe. The simulated sex becomes funny in otherwise serious scenes. The film leads from abuse of food to abuse of bodies, but the bodies are less real than the food, so the progression falls flat. A similar problem occurs in suggesting Michel Piccoli's gastric disturbances by loud, artificial noises on the soundtrack. In both sex and scatology, The Grand Bouffe is curiously tentative and embarrassed even when it exaggerates...