Héritier d'une tradition de l'épouvante qui remonte au temps du cinéma muet, Georges Franju va jusqu'au bout de l'horreur et de la folie (avec talent) parsemant de séquences poétiques et symboliques, sa plongée dans la noirceur et l'épouvante. Un incontestable chef-d'oeuvre d'angoisse, de tension et de frissons. A noter l'exceptionnelle prestation d'Edith Scob, une actrice à redécouvrir !
Franju's "fantastique" fright night film holds up, whether you want to see it as a pure sensory exercise in Euro-horror aesthetics—an irrational vibe, uncanny imagery, haunted and stark sound design—or an allegory in which an isolated woman with a soul but no human face anguishes over the price to pay to get one. Telling note, for this idiosyncratic horror show: the police and male hero make no difference at all.
A good example of something transcending its genre, or perhaps not conforming to viewer expectations. Jarre's fairground score provides the right cue to this meticulous ride on a most peculiar mechanism comprising fairy tale, surgical horror and, less satisfying, police procedural. It provokes more than just revulsion with its sly takes on obsession, misplaced love and
control. A fascinating adjunct to Frankenstein.
Perhaps the best example of the slow-burn pace that you can find in a horror film. It's also maybe the best holocaust film that has nothing to do with the subject as it seems to be inspired by the tales of the operations that occurred in those camps. Though that could just be Godwin's Law for all I know. Either way, it's second only to Clayton's THE INNOCENTS as my favorite horror film (Shit's all over the SHINING).