In this and some other of Claude Chabrol's movies, it is as though he sets out to defy himself and his audience to feel any emotion. The pace is even; characters rarely raise their voices or lose their tempers; there is no on-screen violence; and the sex is minimal and decorous. The colour is carefully orchestrated, with cool blue predominating; and though the film is set by the sea, this is not the warm, seductive Mediterranean, but the cold, off-putting Atlantic; when the weather deteriorates, there are no violent storms, simply thick fog.
Though superficially a drama about the rape and murder of a young girl, the real subject of the film is deceit and lying. From the trompe l'oeil paintings of the main suspect René Sterne (Jacques Gamblin), through marriage infidelity, to the smug hypocrisy of TV celebrity G-R Desmot (Antoine de Caunes), all is a sham. Nor does Chabrol shy away from reminding us that the film medium itself is based on illusion - a character reassures another "that's the sort of thing you only see in movies".
But for all the movie's careful construction, and despite my trying hard to suspend disbelief, some elements of the film remained deeply unconvincing and even ludicrous. In particular, I found it impossible to accept Valeria Bruni Tedeschi as a police chief with an ultra-mild demeanour and a penchant for pink knitwear. Also, the film ended so abruptly that I for one missed any final point made by Chabrol. Nevertheless, there may be viewers more discerning than I who will find more value in this movie.
Though superficially a drama about the rape and murder of a young girl, the real subject of the film is deceit and lying. From the trompe l'oeil paintings of the main suspect René Sterne (Jacques Gamblin), through marriage infidelity, to the smug hypocrisy of TV celebrity G-R Desmot (Antoine de Caunes), all is a sham. Nor does Chabrol shy away from reminding us that the film medium itself is based on illusion - a character reassures another "that's the sort of thing you only see in movies".
But for all the movie's careful construction, and despite my trying hard to suspend disbelief, some elements of the film remained deeply unconvincing and even ludicrous. In particular, I found it impossible to accept Valeria Bruni Tedeschi as a police chief with an ultra-mild demeanour and a penchant for pink knitwear. Also, the film ended so abruptly that I for one missed any final point made by Chabrol. Nevertheless, there may be viewers more discerning than I who will find more value in this movie.