Since learning about it after catching Jamie Thraves's overlooked 2009 version (also reviewed) in late 2016, Claude Chabrol's adaptation of Patricia Highsmith's novel has been my most anticipated viewing of works from the auteur. Finding a best films of 1987 poll taking place on ICM,I finally released the owl.
View on the film:
Slipping on Patricia Highsmith's novel like a velvet glove, co-writer/(with regular collaborator Odile Barski) directing auteur Claude Chabrol's adaptation takes Highsmith cynical,apprehension world view, and superbly coils it with the rich dissection of the murderous bourgeoisie which spans across his credits. First sighting Juliette by watching from afar, the writers alight a fatalist Neo-Noir edge in the entanglement between Robert and Juliette, spun from the pressure of trying to keep how they first met secret, and Juliette's ex Patrick digging for details on this outsider.
Cracking open Robert's past from his bitter ex-wife Veronique's hissing asides which hold Robert from escaping his old life, (a major theme in Chabrol's credits) the writers display their claws with a tantalising Mystery Thriller, sinking into Robert's detached bourgeoisie status being torn to shreds by bitter, calculating ex's,and Chabrol's traditional, doubting police officers, leaving everything in a bloody pile on the floor. Soaring on his son Matthieu's plucked, spidery score, Chabrol & his regular cinematographer Jean Rabier take a turn of the screw with a unrelenting tense atmosphere, nailed in French New Wave distorted wide-views, imprinting the impression of Robert being a loner from all those in town.
Setting out the rules of the game for him, Chabrol grinds Robert down with bursts of red against a pristine, sterilised white and silver canvas, reflecting the Noir lack of morals, in the conniving bourgeoisie. Taunting her ex Robert, Virginie Thevenet gives a alluring, viciously seductive turn as Veronique,whilst Jacques Penot slithers round being the Highsmith blonde psychopath Patrick. Dazed by the pure vision of Juliette, (a terrific Mathilda May) Christophe Malavoy gives a excellent performance as Robert, who whilst getting shaky at the edges from becoming entrapped in a game, is held at the core by Malavoy as a Noir loner, detached from the cry of the owl.
View on the film:
Slipping on Patricia Highsmith's novel like a velvet glove, co-writer/(with regular collaborator Odile Barski) directing auteur Claude Chabrol's adaptation takes Highsmith cynical,apprehension world view, and superbly coils it with the rich dissection of the murderous bourgeoisie which spans across his credits. First sighting Juliette by watching from afar, the writers alight a fatalist Neo-Noir edge in the entanglement between Robert and Juliette, spun from the pressure of trying to keep how they first met secret, and Juliette's ex Patrick digging for details on this outsider.
Cracking open Robert's past from his bitter ex-wife Veronique's hissing asides which hold Robert from escaping his old life, (a major theme in Chabrol's credits) the writers display their claws with a tantalising Mystery Thriller, sinking into Robert's detached bourgeoisie status being torn to shreds by bitter, calculating ex's,and Chabrol's traditional, doubting police officers, leaving everything in a bloody pile on the floor. Soaring on his son Matthieu's plucked, spidery score, Chabrol & his regular cinematographer Jean Rabier take a turn of the screw with a unrelenting tense atmosphere, nailed in French New Wave distorted wide-views, imprinting the impression of Robert being a loner from all those in town.
Setting out the rules of the game for him, Chabrol grinds Robert down with bursts of red against a pristine, sterilised white and silver canvas, reflecting the Noir lack of morals, in the conniving bourgeoisie. Taunting her ex Robert, Virginie Thevenet gives a alluring, viciously seductive turn as Veronique,whilst Jacques Penot slithers round being the Highsmith blonde psychopath Patrick. Dazed by the pure vision of Juliette, (a terrific Mathilda May) Christophe Malavoy gives a excellent performance as Robert, who whilst getting shaky at the edges from becoming entrapped in a game, is held at the core by Malavoy as a Noir loner, detached from the cry of the owl.