Following his early New Wave successes the career of director Claude Chabrol suffered a temporary eclipse but he miraculously returned to form with 'Les Biches' and the even more superior 'Helene cycle' in which Stéphane Audran plays Helene in variations on the theme of marital infidelity leading to murder.
Chabrol said that rather than making a whodunnit he wanted the audience to know who the murderer is 'so that we can consider his personality.' Under the microscope here is the fascinating specimen of Charles Desvallées whose complacent, ordered existence is unbalanced when learning that his prize possession is cheating on him. Michel Bouquet, for whom the part has been written, is utterly mesmerising and the scene in which he is given proof of his wife's infidelity is film acting at its very best as he succeeds in displaying the anguish of betrayal by doing the absolute minimum.
As Victor, the always-good-value Maurice Ronet, in his last of four films for this director, is perfectly cast and his murder is all the more dramatic for its suddenness and spontaneity.
Not every director is fortunate enough to find a 'muse' but the director's wife, the talented and sensual Stéphane Audran, fulfils that function in no uncertain terms.
Critics at the time noted Chabrol's stylistic advancement and a more detached attitude towards his subjects. This low-key but powerful film is a first-class psychological thriller in which, once again, the director gives us a far from flattering portrait of his biggest bugbear, the bougeoisie.
Chabrol said that rather than making a whodunnit he wanted the audience to know who the murderer is 'so that we can consider his personality.' Under the microscope here is the fascinating specimen of Charles Desvallées whose complacent, ordered existence is unbalanced when learning that his prize possession is cheating on him. Michel Bouquet, for whom the part has been written, is utterly mesmerising and the scene in which he is given proof of his wife's infidelity is film acting at its very best as he succeeds in displaying the anguish of betrayal by doing the absolute minimum.
As Victor, the always-good-value Maurice Ronet, in his last of four films for this director, is perfectly cast and his murder is all the more dramatic for its suddenness and spontaneity.
Not every director is fortunate enough to find a 'muse' but the director's wife, the talented and sensual Stéphane Audran, fulfils that function in no uncertain terms.
Critics at the time noted Chabrol's stylistic advancement and a more detached attitude towards his subjects. This low-key but powerful film is a first-class psychological thriller in which, once again, the director gives us a far from flattering portrait of his biggest bugbear, the bougeoisie.