A very well constructed plot that evolves beyond the usual thriller and works against what could have been a very predictable ending. Towards the end it also cleverly juxtaposes reality with the hallucinatory effects of being drugged, and brings into questioning who is really mad in the story, by contrasting the good against the bad, the sane against the insane. A film that goes above and beyond its own plot.
The tonal ambiguity reflects the clever way in which Chabrol marries different genres within the predominantly Hitchcockian main narrative. He then does something entirely his own in the final half hour as the entire piece feels as if it is about to spiral into a psychotic and psychedelic nightmare. A gripping thriller and assault on bourgeois corruption: tense, sometimes unpleasant, but not without heart or humour.
Colorful and disturbing French New Wave psychedelic Gothic. Like in many Gothics from this period, motherhood is used to invalidate and destroy the heroine. Suspense is constantly building in this convoluted tale, with Stephane Audran particularly gripping as the heroine who is stalked like prey but may not be as helpless as she initially seems.
Excellent movie - stylish and slightly mad, while upturning stereotypes like that of the helpful, quasi angelic wife. An ex-stripper and current barmaid, far from being complacent, she is not patiently putting up with manipulation and domestic violence, showing, instead, incredible smartness and strength in spite of it all.
Amazing portrayal of the intersection between the establishment and the bereft bohemians - with the right side coming out on top in the end. Of its era - great historical insight into the conservativism of French bourgeoisie culture. At times, it feels Helene's composition, perseverance and self-reflection is compromised by what feels like the director's fetish for creating pity for sexy but flimsy female characters.
OMG that beginning... I am still laughing. If Mubi keeping screening these forgettable films that better off forgotten except as museum pieces for students of film history, then it's not for me. The frying pan scene was funnier than The Young Ones (the TV show folks). Well I admit I skipped some bits but I did make it through to the end. It was awful, apart from Stephane Audran, who had something.
Chabrol's atonal representations of evil & magnanimity here problematize how we as viewers perceive cinematic form. Normal manners of describing theme & style are useless. Benevolence controls the narrative, but wickedness is imbued w/ humor, sex, perverse delight. The dissonances in LA RUPTURE do not fully deconstruct the opposition between turpitude & virtue--good is victorious--but Chabrol's answers are not easy.
Great movie, but I would have loved to see the couple trying to reunite or resolve their issues. Instead they were sepereated all along. I loved the set piece of the hotel and it's guests. Unfortunately, they lost it in the last acts, which were not that balanced as the first half.