Claude Chabrol is a liar and a liar

The smallest movie ever Lies & Deeit: Five Films by Claude ChabrolArrow Video’s tribute to the late, great French New Wave director, also happens to best embody the spirit of the set: In Inspector Lavardin, almost everyone is a conniving liar, including the amoral police officer himself (played by the equally great, tragically late Jean Poiret). Lavardin destroys the family portrait and declares it as his own in order to engineer an excuse to leave the city; Raoul Mons (Jacques Dacqmine), the priest who kills Lavardin in order to make amends, is a big moment; about Claude (Jean-Claude Brialy) and his sister Hélène (Bernadette Lafont), Raoul’s widow, who both know more about his death than they admit; Hélène’s daughter, Véronique (Hermine Clair), is not as innocent as she seems.

Everyone makes mistakes one thing, in other words, except for Lavardin’s guardian, Marcel Vigoroux (Pierre-François Dumeniaud), a policeman in Dinard, where the film is set. He was just doing his job. There’s a kind of dark irony in his bluntness in contrast to Lavardin’s lackluster commitment to law enforcement, as if he’s got a wry smile on his face. Inspector Lavardin summary Fraud & Fraudis the connecting factor. Chabrol is known as “the French Hitchcock.” Inspector Lavardin Cut close to the Hitchcockian principles of the story as the biggest film of the lot: Madame Bovary, Betty, Painful and, of course, I’m a cop Vin—Chabrol’s first Lavardin film, in which Lavardin plays a supporting role in the team rather than serving as the center of the story.

It speaks well of Chabrol’s gifts as a filmmaker and he effortlessly weaves a common sense through each of these works despite their different genres. Two of the provincial whodunits; a study of the inner life and sexuality of a woman; an unpleasant sensation in the house; an adaptation of Gustave Flaubert’s classic tale of marital dissatisfaction. In some cases, Chabrol explains who is lying in his films and who is telling the truth. In others, more Painful, he leaves the judgment to the audience—a form of suffering for himself. When we recognize the fact that these films are rejected, we can enjoy them as cleverly crafted entertainment. When we are forced to guess for ourselves whether there is a lie in the air or not, we must struggle with uncertainty.

That’s what the movie is like Painful business or not preaching, and why Inspector Lavardin was received by the New York Times‘ Caryn James is a “small thing” (but a small thing to taste, as the rest of her review notes). It’s a mystery. Chabrol did not give up the game until the end. But before he makes his climactic revelation and shines a light on the deception and chicanery, he uses little action to cover up the fact that Lavardin is surrounded by a group of fibbing tricksters. Before telling the viewer that everything is suspicious, Inspector Chabrol he shows everyone who knows Raoul’s murder to varying degrees.

It’s very clean, but it’s a lot of fun, and it’s better than its peers. I’m a cop Vin, where Hitchcock’s influence rediscovered Chabrol. Parapelgic Madame Cuno (Stéphane Audran) plans with her son, Louis (Lucas Belvaux), against a trio of unscrupulous businessmen who are trying to intimidate them into selling their ugly old house: A lawyer (Michel Bouquet), a doctor (Jean Topart) and a butler (Jean-Claude Bouillaud). Madame refuses to sell, prompting Louis to do this to the couple, which leads to the butcher’s tragic death and invokes Lavardin’s feelings. Sleeping inside I’m a cop Vin less than in Inspector Lavardin, but there are more of them – including that of the good doctor’s lost wife. It is believed that he left her for a lover. The truth is that it is very good.

Lying, on the other hand, is better, and it’s cheating. Fraud & FraudThe quintet together: Lying may be wrong, but it’s better than the truth. Otherwise, liars have very little reason i lies. Raoul had lied by putting up smoke to cover his crimes; 1992’s eponymous director Betty (Marie Trintignant) sleeping with her husband (Yves Lambrecht) in pursuit of her own will; Madame Cuno lies about her disability to prevent Louis from leaving her; Emma Bovary (Isabelle Huppert) takes up activities with gay men as a cure for malaise. I’m a cop Vin He playfully plays the cost-benefit of sleeping in Louis’s relationship with his sweet co-worker, Henriette (Pauline Lafont), who keeps coming to him until he gives in to his pleasures. Sex is a very strong lubricant and he tells her about his role in the butcher’s death. He becomes guilty theirsa nasty secret kept between them that makes each other’s bodies bigger.

Painfulunless proven false, compared to I’m a cop Vin, but it is what separates the film that proves Chabrol’s law. Here, Paul (François Cluzet) discovers that his beloved wife, Nelly (Emmanuelle Béart) has been having an affair behind his back. In the course of the story, it unfolds with incredible speed, the conversion from a loyal man, love to jealousy, the result is not reliable – it is impossible not to see. It’s not the same inside I’m a cop Vin, Inspector Lavardin, Betty a Madame Bovarywhere Chabrol makes sure his audience sees betrayal when it’s not betrayed, Paul and I are denied the comfort, the rest, of the truth.

Dark as Madame Bovary that, at least, we know the depth of Emma’s guilt. Seedy like Lavardin films, we can enjoy the violence and laziness because Chabrol’s choice of character promises that the villain will be revealed at the right time. Now, on Painful, the biggest lie he tells in the opening credits: Bernard Zitzermann, Chabrol’s cinematographer, shot a placid lake on a sunny day, asking for a calm atmosphere in the without the rest of the film. Chabrol’s fixation on lies cuts deep. It haunts many of his filmography, from Le Beau Serge i Le Boucherand hums loudly through the collected works Fraud & Fraud.

Chabrol’s name is not immediately recognizable like his New Wave compatriots Jean-Luc Godard, François Truffaut, Éric Rohmer, Jacques Rivette. The nature of his work in relation to Hitchcock kept him from the same pleasure of seeing the knowledge of cinephiles; where Godard helped pioneer a new grammar for filmmaking, Chabrol was pleased with the comparisons made between his films and those of the Master of Suspense. For the inquisitive, this can be read as a sign of an unfounded talent. But Chabrol gives a deceptive simplicity to his films about the nature of truth and the temptation of lies, and he rewards the watchful and patient viewers with an insight into the psychology of the unfaithful among his peers. For others, Fraud & Fraud an important contribution to the basic theme of his business.

Bostonian culture blogger Andy Crump covers movies, beer, music, and being a dad for so many stores, including you. He helped to Connect from 2013. You can follow him at Twitter and his collected work is available on his personal blog. It is about 65% of craft beer.


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