In Contention

Tag: Claude Chabrol

  • THE LISTS: Top 10 horror films of all time

    It’s Halloween week and since we are a movie site, we are under some kind of unspoken obligation to provide our dear readers with a list to fit the festivities. You may remember a similar list popping up two years ago, in which all current contributors voiced an opinion and the final results represented a collective agreement. Since I was not a contributor at that time, Tapley asked me to offer up a new take this year.

    A little backstory on my relationship with scary movies seems appropriate. I was raised by two Christian parents who were very protective of the images that I put into my head. When I was six years old, I was playing at a friend’s house when he suggested we watch “Beetle Juice.” Knowing that it was a potentially objectionable title, I called my mom and asked if it was okay and she said it was not. Kids being kids, we watched it anyway.

    What did I think of it? It scared the crap out of me. So much so, that I understood why my mom didn’t want me to watch it and actively avoided scary images on my own free will from then on. When one or two infiltrated me, such as “Ghostbusters,” I was always a little rattled. As I’ve grown, I’ve only become slightly less sensitive to these types of images and only actively seek out scary films if I hear there is a lot more going on to make it worthwhile.

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  • WEEKLY WRAP: Venice winners, Toronto bites, ‘Network’ raves

    • Sofia Coppola’s “Somewhere” surprised many by taking top honors at the Venice Film Festival; we took a closer look at the Lido winners.

    • Meanwhile, we were considerably less than wowed by the festival closer, Julie Taymor’s “The Tempest.”

    • This week’s Off the Carpet column reflected on the unusual depth of this year’s Best Actress race.

    • A race that subsequently got even deeper as Lionsgate made the biggest acquisition thus far of this year’s Toronto fest: Nicole Kidman’s comeback effort “Rabbit Hole.”

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  • A note on Chabrol

    I wouldn’t even know where to start writing an obituary for Claude Chabrol, the French nouvelle vague master who passed away yesterday at the age of 80. His filmography is so vast — spanning 52 years and 54 features, many of which I have yet to see — and his influence so extensive that formal tributes are best left to those more learned than I.

    Still, that’s not to say he hasn’t made a number of films that mean something to me, chief among them 1970’s “Le Boucher,” a character-study-as-thriller so perfectly and precisely formed it hurts a little to watch it. It was my first Chabrol, and indeed one of my first forays into the French arthouse canon, introduced to me in childhood by my dad — who counts it among his favorite films.

    I’ve inherited his affection: the film’s simple set-up — shy young schoolteacher  strikes up a friendship with a lonely village butcher who may or may not be a killer — is an undercoat for a deeply compassionate study of emotional repression and moral judgment, with a for-the-ages lead turn by his then-wife Stéphane Audran.

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  • LONDON: ‘Father of My Children,’ ‘Bellamy’

    Gerard Depardieu in BellamyIt’s been a busy weekend at the festival, but aside from “Up in the Air” — which I finally encountered this morning and will offers some thoughts on in due course — it’s also been a rather low-key one. Several films I had seen in pre-screenings made their London debut; I’ll round them up with some brief capsule reviews later.

    The best film of the weekend would have been Jessica Hausner’s critical darling “Lourdes,” if I hadn’t already seen it in Venice. Happily, a pair of different French-language titles made for a most enjoyable Saturday, even if I can only make significant claims for one of them.

    Viewed in succession, Mia Hansen-Løve’s “Father of My Children” and Claude Chabrol’s “Bellamy” made for a fascinating transition between two guards of French cinema: the former, low in star wattage, is the sophomore effort of 28 year-old director, while the latter marks the first collaboration between two industry titans, 79 year-old Chabrol and 60 year-old Gérard Depardieu. One, I think, has the potential to be a major arthouse hit — it might not be the one you think.

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