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!
Well constructed and clearly an influential work, but ultimately I found it a tiresome watch. I think it's because I didn't buy into the movie's sense of dread. In practice, the back half of the movie is just Vera Clouzot looking more and more pensive. Like if Wages of Fear was just two hours of people sitting around a Mexican town.
The wife and the mistress of the world’s most unpleasant man plot his death in this stunning genre-hopper from Wages of Fear director Clouzot. It’s cynical and gripping, with flashes of humour and humanity, and Simone Signoret exuding malignant cool as a peroxide, jump-suited murderess with killer shades. There's twist after twist after twist - and the final two are just dynamite.
A laughably implausible final few minutes, but goddamn if it wasn't a thoroughly captivating ride otherwise. The main protagonists are just wonderful, and something about the dialogue just made me fall gently, deeply into this film's world. Maybe it was just the talented acting, I don't know, but man... some scenes in this film were just so inexplicably vibrant and packed with feeling, especially the sequence in Niort.
Like all movies, I went into this one blind, only knowing that it was well rated. Good choice.
Though my initial impression was somewhat negative, as I believed some painstaking tension between the married couple would compose the bulk of the film, the latter half was incredibly engaging, and the fresh cinematography very clearly influenced horror and thriller films of the latter 20th century. An absolute essential for the genre.
It may have been very innovative and surprising back in 1955, but, seen today, Diabolique was a predictable mystery film with a correct sense of dread in its atmosphere, although not very strong. I didn't really feel all the tension and the suspense that many did, but just only a bit.
My life is a heavy bronze bust on my chest. (9/10)
The wife and mistress of a sadistic boarding school principal drown the villain in the tub and make it look like an accident… but the corpse disappears. Clouzot’s classic thriller is a calculated, cold-eyed account, capably acted and deliberately—at times sluggishly—paced. Doesn’t hold the surprises it once did, but it was an obvious influence on many thrillers which came after (Psycho most obviously), and it is remembered fondly by thousands of viewers who had their wits scared out of them in the 1950s. At any rate, it’s a terrifically sturdy shocker, and the dark-house climax still packs a wallop. Respectably remade for television in 1974 as Reflections of Murder; best to avoid the 1996 Sharon Stone version altogether.
Well, I must admit, I did not see that coming.
A tremendous mystery delivered with the kind of suspense and terror that would make Hitchcock envious.