It seems unlikely that Clouzot could be one of Chabrol's parents since he was slipped into the "cinéma de papa" bag, being not exactly a reference for the filmmakers related to Nouvelle Vague. And yet, this chronic of bourgeois pettiness is so Chabrolian that impresses its existence "avant la lettre". If
bourgeois are like pigs, some cinema that swept them is not, because the more time passes, the more it refines.
A little better and more unforgetable than "Les Diaboliques", "Le Corbeau" isn't just a "whodunit" story, but a portrayal of an irrational society searching for hate and destruction. And the lamp scene is just perfect.
Excellent psychological drama scores with a razor sharp screenplay that deftly balances the complexities of its engrossing characters. There were moments that could have been played with a bit more tension rather than cold detachment, but that's a debatable creative choice. A classic.
A dark, bitter masterpiece that's not only a damn fine thriller but a bold evisceration of Vichy France. Respected authority figures are exposed as villains, the Vichy ideal of the respectable family woman is undermined, and of course, the plot involving anonymous letters speaks to the reality of paranoia and denunciation prominent during the Occupation.
Pretty good thriller about paranoia and panic. The final act of revenge, the way we're prepared for it, and how it's finally shot and staged--restrained and understated, but all the more effective--is worth the whole thing.
Clouzot en otra historia sobre un "anónimo" hábil y tramposo partiendo desde la idea de un pueblo (cualquier, se dice) que esconde una serie de secretos que serán punto de partida para una difamación. "El cuervo" es el ingreso al psico-social, el miedo a los pecados develados, pero sobretodo una lectura al cinismo, uno que no solo recae en el responsable criminal, sino en todo un pueblo. Un final de antología.