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Diabolique is Jeremiah Chechik's 1996 revamped version of the 1955 French film noir tale of two teachers at a boys school conspiring to kill the headmaster (played in the remake by Chazz Palminteri of
Jade and
The Usual Suspects). The three assemble an intriguing triangle of revenge and deceit as the headmaster's abused and humiliated wife and mistress team up to get even. Mia Baran is the fragile wife with a delicate heart condition, portrayed by Isabelle Adjani (
Queen Margot), and Sharon Stone (
Basic Instinct) is the plotting, contemptuous mistress. Together they set out to wreak an unfortunate revenge, but as the story reveals itself, miscalculations abound as hidden agendas and secret lives are unexpectedly exposed. Chechik's new look and timeless setting give film noir audiences something neoteric and seducing to play with. A welcomed change to the film's story line is the fresh addition of Kathy Bates as a daunting private detective. Fans of Stone's will not be disappointed with the latest version of her "I-could-give-a-damn smoldering broad" technique and anyone not yet familiar with Chazz Palminteri will love watching him succeed as the ultimately despicable headmaster.
--Michele Goodson
A glossy remake of Henri-Georges Clouzot's famous 1954 thriller, in which a man's wife and his mistress join forces to do him in. Here, Isabelle Adjani is the wide-eyed wife, Chazz Palminteri the piggy husband, and Sharon Stone the cool, worldly mistress. The movie is obviously designed to be Stone's show, but her glamorous presence is too vivid for the dull, familiar surroundings. At first, she's an ironic femme fatale; by the end, she seems pure camp, like a bad girl in a John Waters movie. The director, Jeremiah Chechik, and the screenwriter, Don Roos, try desperately to add American spice to Clouzot's chilled French concoction; they throw in nudity, extra violence, Thelma-and-Louise feminism, and dog jokes, and wind up with something awful-vichyssoise sprinkled with jalapeos. Also featuring Kathy Bates, whose good-humored performance mildly enlivens the movie's second half. -Terrence Rafferty
Copyright © 2006
The New Yorker