DCP, restored. Beginning in the 1940s and ending with this film his career, perfectly inscribed in the context of the time - from the striking colors (Godard and Antonioni also had them) to the geometrization of the camera and editing, looking for autonomous moments of strict kinesthesia - is, at least , to praise. The script has several flaws, but what does it matter when the movie is far beyond that?
Could form a trifecta with Belle de Jour and Peppermint Frappé (probably not a coincidence that all three were released within a year of each other). Funny to think that Clouzot -who made so many workmanlike, calculating thrillers in previous decades- had a film like this in him...goes to show you it's always the quiet ones...!
Set design filled with astonishingly bad art. It reminded me of 'L'éden et après', which is not a good thing. Perhaps this was due to his mental problems. You can see some of the work he did in 'L'Enfer' towards the end.
I think I would've preferred L'Enfer had it been completed but Elisabeth Wiener is really great in this. Love that kitschy art installation labyrinth, which later becomes a bizarre dreamspace in her mind.
“Woman in chains” is one of the most brilliant response to is period. Exploring the universe of cinematic art, Clouzot creates a cinematic cinema. Even more than that, he establish a common language between two arts who are separate (one in museums and another one in theaters). This film is all about forms and how they correspondence: art-merchandise, sex-love, women-chain, new-tradition, eye-form, sculpture-cinema.
Much better than expected. Everyone is a voyeur: some people take the photographs; others look at them. Repression comes with convention but breaking conventions does not guarantee happiness. Or indeed anything else.
L'envoûtement pervers qu'exerce sur une jeune femme, un directeur d'une galerie, dans une ambiance trouble de soumission et de voyeurisme, déclenchera l'inévitable drame suicidaire .....