There’s something to say for a film that’s been around for 55 years that still packs a dramatic punch. Now, I’m not going to pretend to be a film connoisseur in regards to films that pre-date 1960. Yet, I often find that the older the film is, the less it grasps me. This can be for numerous reasons, but it’s often because the film’s techniques are stale or a few years past their prime. But, when I find a film that is fresh today as it was upon its release, I completely fall in love with it. There is nothing better than finding a film buried within the past that captures my imagination and attention. Such a gem is the French film “Les Diaboliques“, directed by Henri-Georges Clouzot. At the time of its release, the film was rather progressive. It features two female protagonists who seem to be preparing themselves for an all out war on the male gender as they plot and scheme the demise of a lover. Accompanying this rather feminist approach is an extremely crafty and unflinching supernatural murder story that is often sadistic.
The film focuses on two women who have been spurned both mentally and physically by a man that they once unconditionally loved. The man in question, Michel Delassalle (Paul Meurisse), is a vicious headmaster at a boarding school whose form of education is more in line with striking fear in children than it is to install knowledge. So, in many respects, he’s molding the boys in his image with a figurative hammer in hand. Married to Michel is the beautiful Christina (Vera Clouzot), a fragile woman who’s tormented by the mental strife Michel lays upon her, as well as the sexual deed he has on her body. She wants a divorce, but her religious convictions keep her in a marriage that makes Hell seem tame. If things weren’t enough, Christina is a teacher at the boarding school, which allows Michel a concrete method to keep tabs on his property. Despite Christina’s dedication, Michel has been strutting around the school with a mistress in tow without even trying to hide it. Michel’s mistress is Nicole Horner (Simone Signoret), a woman whose disposition seems to be more akin to Michel’s. She’s often overtly aggressive in her exploits, which becomes much more violent when she comes face to face with Michel’s wrath one night.
Christina, full well knowing the capabilities of Michel, reaches out to Nicole. Soon they strike up a relationship that has one goal: the downfall of Michel. With sheer anger and desperation emanating from the women, they cautiously plot the murder of their abusive lover. This is a master plan that obviously doesn’t sit too well with Christina initially, but in a moment where Michel berates her dignity, Christina succumbs to the devils that tempt her. From there comes the chilling, but clever murder of Michel. The only thing left to do is to dump Michel’s body. Sounds like a breeze. As we know from most movies, the plan never quite works out the way it’s supposed to. Once the deed is done, an assortment of peculiar events haunt Christina and Nicole as paranoia rises within. Not only are they trying to keep their wits while trying to answer questions regarding Michel‘s disappearance, but they also feel that the ghost of Michel is close behind. What happens from here on out is full of terrific surprises and taut moments that lead to a rather shocking and depressing twist.
Making effective use of shadows and auditory cues, director Henri-Georges Clouzot delivers a film wrapped up in the small moments that make up vintage horror. A creaking door here, a slight movement in the background, or the vision of lifeless eyes, Clouzot’s vision attacks the senses and heightens our paranoia. In some respects, I’d compare the tension buildup to starting a fire. It starts slowly with a spark, but then eventually it catches and roars through the dark night. The same idea can be applied to “Les Diaboliques”. Each scene begins with the smallest piece of dialogue or mise-en-scene that slowly builds upon itself until we have scenes popping with hypertension. This type of horror is further magnified when accompanied with a story that doesn’t reserve sanctity. Featuring sheer moments of destructive behavior, “Les Diaboliques” always feels like a film that can seemingly go in any direction. Perhaps this is established by the film’s supernatural presumptions, but it’s also evident in the diminishing level of sanity in our characters as they become more separated from their moral convictions, and more interested in how they can cover their tracks.
And Clouzot truly doesn’t hold back when it comes to pushing his characters in the direction of murder and hysteria. An example of the previous statement is found in an impeccably crafted scene prior to the death of Michel that demonstrates how powerless Christina is in Michel’s presence. Said scene begins with Christina holding vast amounts of power as she attempts to spring a divorce on Michel. But, momentum quickly shifts as Michel carves the confidence of Christina with arguments about her religious convictions and lack of independence. Slowly, but surely, Michel dissects her psyche with great precision. Within dynamic scenes like this, Clouzot stretches his characters thin as he approaches each one with a killer instinct. Furthermore, it’s this scene that surmises the many challenges Clouzot’s characters face, all of which accentuate the vulnerabilities that make up their beaten lives. By having progressive characters, as well as a story on the edge, Clouzot ultimately makes our nerves intersect with his characters. Through this, Clouzot leaves us vulnerable to the traps he lays in the film, and once his final act is in place, we can’t help but be bowled over as he pulls the rug out from under our feet.
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