Claude Chabrol is known affectionately as 'the French Hitchcock'. And while I can see why he is labelled as such, it isn't a terribly accurate description. His films are ostensibly thrillers but the difference between Chabrol and Hitchcock is that the former is only superficially interested in suspense. His films effectively use the thriller framework in order to explore issues of human psychology, morality and sexuality. While pivotal, the crimes depicted in his films are almost incidental, they are merely catalysts that lead to the human dramas that truly interest him. Its the psychological aftermath of crime and the complex human emotions that it unleashes that drives his films.
La Femme Infidèle is no different in this regard. Its about a love triangle that ends in the murder of the secret lover. The married couple's relationship actually strengthens on account of this homicide. This atypical approach to human relationships is common in Chabrol's universe. I wouldn't necessarily say that characters in his movies act in particularly realistic ways. They always seem to be somewhat emotionally detached. In this case it is no different. The married couple seem to navigate through these moments of heightened tension with little more than a Gallic shrug. But this is the style of the director and his familiar ensemble of actors. Once again his muse Stéphane Audran is radiant as the unhappy wife; while Michel Bouquet impresses as her husband. Visually the film is typical in its low-key look, which fits the psychological mood. Its pastel colours reflect the detached feeling too.
Its one of the directors best films. Everyone is on the top of their game and the deceptively simple plot line is never less than engaging. Like most other Chabrol, there is a lot going on under the surface here. It ends on a very ambiguous note. One than can be interpreted in different ways. The final camera pan is strangely compelling and mysterious. It makes you want to watch the movie again.
La Femme Infidèle is no different in this regard. Its about a love triangle that ends in the murder of the secret lover. The married couple's relationship actually strengthens on account of this homicide. This atypical approach to human relationships is common in Chabrol's universe. I wouldn't necessarily say that characters in his movies act in particularly realistic ways. They always seem to be somewhat emotionally detached. In this case it is no different. The married couple seem to navigate through these moments of heightened tension with little more than a Gallic shrug. But this is the style of the director and his familiar ensemble of actors. Once again his muse Stéphane Audran is radiant as the unhappy wife; while Michel Bouquet impresses as her husband. Visually the film is typical in its low-key look, which fits the psychological mood. Its pastel colours reflect the detached feeling too.
Its one of the directors best films. Everyone is on the top of their game and the deceptively simple plot line is never less than engaging. Like most other Chabrol, there is a lot going on under the surface here. It ends on a very ambiguous note. One than can be interpreted in different ways. The final camera pan is strangely compelling and mysterious. It makes you want to watch the movie again.