All the films from all the editions, including those subsequently removed, presently totalling 1167. 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.
A thrilling classic that more than lives up to its name! Taut, suspenseful plot that's wickedly delicious!
Packed with powerhouse performances by Véra Clouzot, Simone Signoret, Paul Meurisse!
Christina Delassalle (Véra Clouzot) may have something to hide but her see-through nightie reveals all!
Your viewing pleasure would be greatly enhanced if you avoid summaries, reviews and trailers!
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.…
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…
Despite having a wickedly clever ending filled with twists and suspense, the journey to get all the way there was rather monotonous.
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!
An overall boring experience. The film seems to have been written around the twists that occur halfway and at the end of the movie and even though they were good twists they didn't make up for the lulls comprising the rest of the movie. It's kind of hard to explain because, on paper, you can look at this movie's story and recognize that it can work as this Hitchcockian murder-mystery suspense film or a kind of noir mystery but I just never really felt much suspense in anything that was going on. I didn't mind that the guy getting killed was going to get killed since he was an asshole and everything after the first big twist halfway through the…
Two typical Clouzot nasties, one an exercise in Simenonian milieu-building (QUAI DES ORFÈVRES), the other (DIABOLIQUE) a showcase for the director's misanthropic thriller mechanics. QUAI DES ORFÈVRES (1947, 106 min, 35mm; Friday, 8:15pm and Saturday, 5:15pm) is the only one of Clouzot's major works that could ostensibly be called "humanist," and even then only by a stretch; though its characters are every bit as intricately flawed as Clouzot's other creations, they are treated with more affection than H-G.C. would ever dole out to anyone other than Pablo Picasso (THE MYSTERY OF PICASSO, which will screen next week). DIABOLIQUE (1955, 116 min, archival 35mm; Saturday, 3pm and Monday, 6pm), one of Clouzot's signature works, shows just how cruel and mean-spirited he…
What a great surprise! I was in the mood for some modern, light horror tonight. I have had this film on my Netflix Streaming account for a while. For some reason I was thinking it was an American horror film from the 70's. Boy was I wrong. I guess I should pay more attention to the synopsis. But in this case I am glad I didn't or I wouldn't have selected this film. As a matter of fact after the first 5 minutes I almost shut it off. Not because it was bad, I just wasn't in the mood for a foreign film.
This film, made in 1955, is a French production. It is less horror than psychological thriller. It…
De todos los films a lo Hitchcock, el único que hubiera querido dirigir el tío Alfredo.
A Hitchcock thriller in French. I later discovered that Hitchcock wanted to make this film, but Clouzot attained the rights first. The twist at the end is one of the best I've ever seen.
A great noir - highly recommended.
If you're a fan of Diabolique, check out The Innocents, because The Innocents > Diabolique by a pretty fair margin, I'd say.
A moralistic horror film sapped of all horror elements and moral inquiry. The two main characters aren't much more than archetypal madonna/whore binaries, although Vera Clozout and Simone Signoret imbue all the humanity they possibly can into their respective roles. (Bummer about Clozout's untimely death in 1960, during her brief time as a star she shone quite brightly.) Not sure why this is considered a formal masterpiece, either: compared to The Wages of Fear, H.G. Clouzot's direction feels stagey and stiff.
Tense, freaky filmmaking. The ending is really good. The dreamlike qualities are effective. Until the ending undermines everything with a Hitchcock-ian plot twist.
Shocking and incredibly well done.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…