All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
See it, be amazed at it, but... BE QUIET ABOUT IT!
The cruel and abusive headmaster of a boarding school, Michel Delassalle (Paul Meurisse), becomes the target of a murder plot hatched by an unlikely duo -- his meek wife (Vera Clouzot) and the mistress he brazenly flaunts (Simone Signoret). The women, brought together by their mutual hatred for the man, pull off the crime but become increasingly unhinged by a series of odd occurrences after Delassalle's corpse mysteriously disappears.
Blending together the elements of horror & mystery in a seamless manner, cleverly using its available resources to provide a sense of dread & uncertainty, and efficiently sustaining its tense atmosphere from start to finish, Diabolique (also known as Les Diaboliques) is one of the finest examples of its genre(s) that simply refuses to age despite being nearly 60 years old.
The story concerns the wife of a cruel headmaster who, along with the help of her husband's mistress, devises a plan to murder him, and after careful arrangement manages to successfully execute it without leaving behind any traces. However, things are ultimately set in motion when the body mysteriously disappears from site after which a number of strange occurrences ensue.
The cold sweat, the uncontrollable trembling, the heavy breathing, the pressure on the chest, the burdensome weight felt by the knees, the inability to move, the faintness of the voice, the paralyzed mind. It’s fear, taking over. The artistry with which Henri-Georges Clouzot produces fear, sustains it and shows its crushing effects in Les Diaboliques elevate not only the film but the horror genre altogether. It is one of those rare occasions when the destabilizing nature of uncertainty, the sheer sense of dread and the spine-chilling force of fear are not taken for granted, but skillfully and vividly conveyed. Les Diaboliques is a film so effectively shrouded in mystery and delusion that it becomes a psychological assault of mind-boggling conviction.…
Despite having a wickedly clever ending filled with twists and suspense, the journey to get all the way there was rather monotonous.
I finished this film just moments ago, and I immediately want to go tell the world what I just saw. But I cant. Because at the end, a little message scrolled past that told me not to ruin the surprise. Diabolique is very interesting in the fact that a movie released in 1955, 58 years ago, is still making its audiences keep quiet about the ending. I have to thank the fans of the movie who didnt spoil this for me, and I will become one of those people who will carry the secret of this film to my grave.
Well, thats a little extreme, but I feel its justified in this context. The twist is simple, but planned…
Part of my 2012-1932 project
If there has ever been a movie equipped with the ability to have the viewer(s) glued to the screen while chewing on their arms as they have no nails nor fingers left, it must be Les diaboliques.
I had no doubts about Clouzot's claim to the throne of French master of suspence, after having seen La salaire de la peur, but Les diaboliques is a step up in my book.
It takes its time, meticulously building up to the crime, and establishing motives. And although it's nowhere near boring, the true perfection is the second half, when the suspence is turned up to 11. Incredible tension, and here we're also treated to some great direction from Clouzot as well, especially in the build up to the penultimate scene. Masterful!
Part of Hoop Tober
Highly influenced by the master of suspense, Alfred Hitchcock, but still easily finding a heart of its own, this taut psychological thriller of the classical era is a perfectly apt example of why the horror films of the past are much more effective in their attempt to create suspense and torment the audience (even though they had basically no gore and all the other elements and tools that give name to the horror genre today). Being significantly more minimalist (and clever) by using wide angle, long(er) take and practically no music (allowing the silences to fill the frame and conduct the scene), director Henri-Georges Clouzot (as well as the other big names of suspense of the…
Beat Hitchcock to the screenplay. Great ending.
Not as good as I had expected but still quite good. The end especially had some very chilling moments.
I saw Henri-Georges Clouzot's The Wages of Fear earlier this year and liked it a lot. Les Diaboliques is his other really well known film so I've wanted to watch it ever since. While I didn't like is as much as The Wages of Fear I did thoroughly enjoy this one as well. It has a great story, good performances and had some nice suspense. I liked the film and then the ending came. Let's just say that was one hell of a twist. Brilliant ending. 7.5/10
Nothing to say that isn't of the nitpicking variety so I'll just restate that it's a perfect thriller...though the twist, which obviously paved the way for decades of inferior yank endings, isn't my favorite part. It's comparatively unconcealed in its intent, constantly reminding us that Vera Clouzot is unwell, her heart shaky, that any bump in the night could be the end - and drawn out a little longer than I'd have liked. For me the the scene in the morgue when Vera goes to see the body or even the disposal of the body upstage the finale, granted the ending was also ruined for me when I mistakenly watched the remake first in high school. Tried to pinpoint why…
A thriller to keep you on the edge till the final minute!!
Hitchcock has many imitators but no film comes as close to capturing Hitchcock's style as Clouzot's Diabolique, and yet the film never feels like an imitation. Between this and Wages of Fear he could have easily taken Hitchcock's "Master of Suspense" crown if he wanted to. According to IMDB: When director Henri-Georges Clouzot bought the film rights to the original novel, he reportedly beat Alfred Hitchcock by only a matter of hours.
The following was originally written as part of an (as of yet) unpublished piece for Cinedelphia.
Take a gander at the opening image of Les Diaboliques and you know you’re in Clouzot-land; a close-up of dirty, filmy pool water serves as our introduction to a world marked by decay, despotism, hopelessness, and despair.
Henri-Georges Clouzot – often (reductively) dubbed the “French Hitchcock” – was at the peak of his powers when he helmed this chilly, unsettling tale chronicling the murder of a tyrannical headmaster at the hands of his wife and mistress, both of whom were victims of the sadist’s abuse, and the twisty aftereffects of their actions. Clouzot’s work, which includes the superb existential action-thriller Le Salaire de la…
Hace unos días comenté en un foro de cinema horrorama que para mi, Diabolique, Possession y Eyes Without a Face se disputan el título a mejor película de horror francesa de todos los tiempos. Hoy, a un día de volver a ver Diabolique, le doy la medalla de oro (la próxima vez que vea Eyes Without a Face la cosa va a cambiar seguro).
La escena climática me mata de miedo. Ayer me di cuenta de que es una secuencia sin una pizca de música. Es el silencio lo que nos asusta, igual que la obscuridad en los espacios vacíos.
No exagero, les juro que me mata de miedo.
Diabolique is a twisted tale of revenge that is in the conversation some of the greats that came after, like Psycho and Repulsion. It is about a boarding school where it seems every teacher has a secret. When a wife and mistress join forces against the man in the equation, to kill him and inherent the school, everything goes badly, of course. Psychologically, it weighs heavily on the wife, no matter how bad her husband was to her.
Considering its subject matter and its cold cynicism, this might make a wonderful double feature with Gone Girl.
MVP--the card at the end of the film asking for you not to spoil its twist ending for other people who want to see the film. Great touch.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 196/776 (25%)