LES INNOCENTS AUX MAINS SALES

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French new Wave et international nouveau wave cinema

Vous lisez ce: Les innocents aux mains sales

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HOME > new WAVE cinématicien ENCYCLOPEDIA > film > esquive Innocents ns mains sales (Innocents through Dirty Hands)

Claude Chabrol
Producer Andre Genoves
Screenplay Claude Chabrol, Richard Neely
Cinematographer Jean Rabier
Editor Jacques Gaillard
Composer Pierre Jansen

Voir plus: ♛ Cheb Khaled Et Sa Femme ░Samira Diabi░الشاب خالد░وزوجته سميرة ديابي♛

Julie Wormser Romy Schneider
Louis Wormser Rod Steiger

Paolo Giusti

Jeff Marle
Georges Thorent Francoise Perrot

Commissaire Lamy

Francoise Maistre

Commissaire Villon

Pierre Santini

Judge

Hans chrétien Blech

Maitre Albert Légal

Jean Rochefort

English Title Innocents v Dirty Hands
Director Claude Chabrol
Year / Length 1975 || 121 mins

Alcoholic, ex-film producer louis Wormser (Rod Steiger) et his beautiful, much younger wife, Julie (Romy Schneider), live in a villa in St Tropez overlooking the sea. Once handsome neighbour Jeff Marle (Paolo Giusti) comes across Julie sunbathing naked in thé garden, it’s thé catalyst parce que le a passionate affair and a plot to do away with Louis. Marqué their carefully moche plans all to easily unravel, when, thé morning after the murder, Julie discovers Jeff has actually disappeared and Louis’s banque account is empty. Quickly the officier de police start asking challenging questions cible Julie is ont much in auto dark as they are…
see also éléments on: Top 10 Chabrol movie || Claude Chabrol Profile|| french New Wave background || français New Wave film Guide
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adjusted from pulp thriller en francais The Damned Innocents de Richard Neely, Innocents v Dirty Hands begins a au sens propre too generically, ont if the écrivain behind thé masterful hélène cycle were just going through the motions et weakly imitating his earlier work. Its international stars, rod Steiger et Romy Schneider, likewise seem at sapin somewhat listless in their roles, as if suffering thé effects ns too much St Tropez sun, while Italian actor, Paolo Giusti, as leather-jacketed, kite-flying writer Jeff Marle, shows up to ont accidentally stumbled la fin the collection of année Italian Giallo movie. Yet reservations are quickly dispelled ont Chabrol’s mastery of technique et scene-setting environment draws nous inexorably into autre high-class tale du infidelity, deception, jealousy, murder and revenge. Like auto director’s earlier cinématique Les Noces rouges (Wedding in Blood, 1973), the plot of Innocents owes a debt à The Postman constantly Rings Twice, one du the seminal works of both literary, and film, noir. Oui in those previously works et many de Chabrol’s divers films, the histoire explores the changing force relations within a triangle du characters. This time thé murder plot unfolds at a breathless pace in auto first acte as auto handsome étranger inspires the frustrated wife to fulfil her femme fatale potential et murder sa impotent husband, after i m sorry the se concentrer turns, ont in Dostoevsky’s Crime and Punishment, to thé aftermath, as twist follows twist and the guilty are punished à la their transgressions. It’s right here that the story moves into unchartered territory ont dead men return from the grave, sexually renewed and looking parce que le vengeance. Also James ns Cain’s imagination never ran this deep et dark.In contrast à the central storyline, Chabrol introduces comic relief in thé shape ns the two investigating policemen, Lamy and Villon, who talk about the crime over dinner, brandy et cigars, do lecherous jokes et misogynistic comments, in which method managing venir come to the right conclusions cible completely missing auto point. Their utterly downhearted view du human nature, whilst amusing, seems somehow more depraved than the crimes committed passant par their quarry. Julie’s defence lawyer – a marvellous cameo from jeans Rochefort – is likewise ironic in outlook et so adept at his job that hey gets Julie off despite auto weight ns evidence versus her. This is judiciaire played as a game, à be won passant par wit and skill regardless de right or wrong: “the reality is whatever people want venir believe,” explains auto lawyer.Chabrol, with thé help of regular collaborators – cinematographer jean Rabier et composer roche Jansen – heightens the le suspense effectively, particularly at night in thé garden, where wind blown trees actors shadows et the dissonant score keeps ours nerves jangling. Thé modernist architectural of auto couple’s villa, an abstract space frais less rooted in carré than Chabrol’s earlier thrillers, shows up to fermé in around its occupants ont the plot darkens. The winding staircase at its quartier général takes nous symbolic significance ont a site ns power from auto top of which louis regains his gouvernement during the revelatory flashback. Indeed, the geometry du the location, thé artificiality ns much ns the dialogue, acting and the intrusive caméra moves, convey a surreal, dream-like quality, ont unsettling as a nightmare.Adding to this unnerving high quality is the fact that we are never quite sure du whose mettre en ordre of view to settle on and therefore who venir root for. Romy Schneider’s enigmatic Julie exploits her luminous sexuality to gagner gratification, money et power. Nous should despise her and yet regardless of this nous feel sympathy à la her plight oui her civilization comes crashing down about her. Pole Steiger’s Louis, though a broken down alcoholic, has our pity also when nous watch the brutal way through which cette is dealt by those cette trusted. Even thé two detectives et the judge have our soutien as thé upholders du justice. Marqué what is Chabrol’s mindset towards tous this? Is Innocents a misogynistic cinématicien or a cinématique about misogyny? Certainly, Julie is depicted at first as cold and calculating and driven passant par the basest du motives; pour her transgression she is punished, escaping official justice perhaps, marqué left grieving, friendless et alone. “Oh thé fickleness de women!” exclaims sa defence attorney after Julie tells him elle would faire anything to ont her husband back; et yet elle treatment at thé hands of homme makes her acte understandable. Seulement un in the final chilling scene aller we realise Chabrol has something more in mind than sex-related politics. Ont Julie rises in auto darkness at auto command du a distant voice et walks in the direction of a flickering light, the histoire enters a metaphysical kingdom previously seul hinted at – not least in the film’s title. It’s the final stage on a spiritual journey that has actually seen elle progress, in a chrétien sense, indigenous sin venir suffering to redemption and finally to what? Judgement perhaps? Chabrol leaves us guessing.