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Credits
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Summary
When his young son is killed in a hit and run accident, Charles Thenier resolves to hunt
down and murder the killer. By chance, Thenier makes the acquaintance of an actress,
Helène Lanson, who was in the car at the time of the accident. Initially
suspecting that she is the target of his revenge, Therier pretends to be in love with
her, savouring his moment of triumph. Then his view changes when Helène confesses
to having had a nervous breakdown at about the time of the car accident. Therier discovers
that the real culprit of his son’s death was Helène’s brother-in-law, Paul Decourt,
a truly horrible individual. Therier persuades Helène to introduce her to
her family and they go to spend a few days at the family home in Brittany. Paul
Decourt proves to be every bit as wicked as Therier suspects, and Therier has no qualms
about carrying out his plan of revenge. However, he is not the only one to wish
Decourt’s death...
Review
This compelling study of revenge and hate is easily one of Chabrol’s better films.
Throughout, Chabrol is in perfect control of the drama and suspense, and the result is
one of his darkest and most absorbing works.
A film that is so firmly built around the viewpoint of its central character relies for its success on the performance of its lead actor. Michel Duchaussoy fits the bill admirably, with a performance that is more moving than menacing. He is perfectly convincing as the young father who loses his son and then dedicates himself to one aim: revenge. By contrast, the character of the film’s villain, Paul Decourt, is a much more ambiguous figure. Even before he appears on screen, he is painted as a brutal monstrosity, and our first view of him only confirms that impression. But then, as he gains Therier's confidence, a softer, more complex, character begins to emerge, and he takes on the character of a victim. This change of perspective is not original in cinema, but it seems to work very well in this film, and is achieved through a fine performance from Jean Yanne. There is also a memorable performance from Caroline Cellier as the vulnerable and beautiful Helène. Pierre Jansen’s very atmospheric music adds a great deal to the mood of the film. His score heightens the drama that is already there rather than trying to create the impression of drama which is absent (a fault which is noticeable in many of Chabrol’s less successful films). However, it is probably Jean Rabier’s masterful photography that is the film’s main strength. His work gives the film great energy and depth, perfectly fashioned for a dark psychological drama such as this. The scenes on the Breton coast are truly haunting and add a sense of suppressed horror and conflict, strangely capturing the essence of Thenier’s uncontrollable lust for revenge. Like Thenier's gruesome obsession, this is a film to be savoured and enjoyed. © James Travers 1999
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