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Henri-Georges Clouzot's 1955 French thriller
Diabolique is the epitome of noir. As a twisted plot unravels, the scene is set for murder and deceit. The Devils (a.k.a.
Les Diaboliques) live at a rundown boys home with Michel Delasalle (Paul Meurisse) as the cruel headmaster treating the students with disdain and indignity. His wife, Christina Delasalle (played by Véra Clouzot), an ex-nun and owner of the school before their marriage, experiences the brunt of his abuse. He humiliates Christina in front of the student body and faculty and then flaunts his insidious affairs in front of her. Christina rebels quietly, although her heart condition leaves her vulnerable and too fragile to resist her husband's brute strength. Ironically, it is Michel's mistress Nicole Horner (Simone Signoret), another teacher at the school, who encourages Christina to plot a sinister revenge against him. As the abuse continues, "Cricri" is forced to make a decision as she realizes her husband will never grant her a divorce and give up the school. Since both divorce and murder are sins against God, Christina's religious beliefs conflict with Nicole's manipulation and ideas of revenge. As she is forced to choose, her actions result in a surprising and suspenseful turn of events that promise to keep you on the edge of your seat! (English subtitles)
--Michele Goodson
From The New Yorker
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