Word: piccoli
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...shock. He does not deal in satire that could threaten or amuse, that could give the sequences substance and, therefore, true impact. His careful chronicle of the dietary excesses of four men is like a prank-a loud, bad practical joke. The men-Marcello Mastroianni, Ugo Tognazzi, Michel Piccoli and Philippe Noiret-hole up in an old house to eat themselves to death, to kill themselves with the very staff of life. Along the way, they also enjoy the company of some whores and a pudgy schoolteacher (Andrea Ferreol), who dispenses her fatty favors equitably and withstands the dietary assault...
Also on hand is an intellectual friend of Charles called Paul Regis (Michel Piccoli), who lacks the brains to get out while the going is good. Charles and Helene confess their passion to him, and Regis receives the news with equanimity. He even helps the lovers deal with a blackmailer and generally tries to ease a situation further complicated by the fact that Helene is also Papa's wife. It all leads to murder, which is only to be expected from a film that is adapted from an Ellery Queen novel...
...sheer force of America's greatest working director. Hitchcock's visual narrative and moral stance dominate the picture from first shot to last-so much so, that one is oblivious to plot inanities inherited from the Leon Uris novel and the largely clodlike performances of the cast (Michacl Piccoli, Philippe Noirct and Rocoe Lee Browne excluded...
That domain, which is also the habitat of her lover Charles (Michel Piccoli), begins to bore Lucile, and so she starts spending her afternoons with handsome, earnest young Antoine (Roger Van Hool). Before long, he insists that she choose between them. "Pourquoi?" pouts Lucile, and the limits of her horizons are drawn a bit more clearly. She knows that Charles will have her back any time she likes, so she moves in with Antoine. Antoine obliges her to take a job; soon, too, she is pregnant. She decides she does not like the realities of this world either...
...view, that cherished mainstay of the narrative form. The confused character-actor names go a good way towards breaking down the wilful suspension of disbelief which every audience is supposed to have. The game itself serves to destroy the scared concept of the inviolate frame. At one point, Piccoli looks at the television screen, sees his companion running towards a window, rushes off-screen to save him and immediately appears himself in the center of the frame due to the position of the television...