Le boucher

Delicate-precise portrait of a small community, admirable force of silence, an imposible love story and the tension as fine embroidery. A great film for the art of exploration of nuances of Claude Chabrol. , for the great performance of Stephane Audran and, off course, for the special Popaul by Jean Yanne .

Who died yesterday or yesterday yesterday, actually. And one of the best part also of Stéphane Audran [with LA FEMME INFIDÈLE [also directed by Claude Chabrol - France 1968]... I totally agree with the commentaries displayed here, especially with the first one written in 1999 from Houston, if I remember well... Jean Yanne was a popular and successful director of comedies but, well directed as he is there by Chabrol, he was a high-class comedian. This part, if he had done only this one, would be good enough for having him. remembered. This original French version of the JACK THE RIPPER theme (though no prostitute is involved so far) is one of the most original of the history of movies from the beginning till today. LE BOUCHER has not at all the "baroque" aesthetic and "crescendo" dramatic aspect of the masterpieces of British Horror movies directed by Robert S. Baker and Monty N. Berman (1958) or James Hill or Peter Sasdy or even by Sir Alfred in FRENZY... but it is a full continent in itself - as well as, though in a totally different way, LES NOCES ROUGES or NADA by the same director. Chabrol is, in fact, one of the best directors of French cinema from the 60's to the 70's : after it is decreasing level after 1975 but sometimes going well again (LA CÉRÉMONIE)...

Le Boucher is a lesson in suspense from French director Claude Chabrol. There is very little in the way of action in this film; but it doesn't matter, because the director knows how to handle suspense, and so despite the fact that there isn't much going on; the film is always interesting. In fact, many modern directors could benefit from watching this film. Through a detached atmosphere and an isolated French setting, Chabrol has created a movie seething with tension, and in a way that always allows the audience to fully take it in. The fact that the movie is beautifully photographed helps the film tremendously, as even if even less happened in the film - the visuals alone would elevate it above the norm. The plot follows the friendship between a local butcher and the school's headmistress, Helene. The pair grow to like each other in the midst of a local maniac mutilating girls in their village. As a birthday present, Helene presents her friend with a lighter; but things turn awry when the teacher discovers the latest victim...with the lighter she bought her friend at the scene of the crime.

Le Boucher stars Stéphane Audran in the lead role. This beautiful actress is superb at providing the lead, and also fits into the film brilliantly as she bodes well with the exquisite cinematography. The film is obviously a product of the time in which it was made, as the visuals are similar to a lot of other mystery films being released around the same time. The plot takes obvious influence from the Clouzot French classic 'Les Diaboliques', but this is not merely a rip-off - Le Boucher has a style all of it's own. Jean Yanne stars opposite Audran as the title character, and he too is excellent in his role. He creates just the right ambiguous atmosphere around his character, which ensures that the tension is instilled as it should be and the climax is believable. Le Boucher will no doubt annoy many due to the fact that not a lot happens, but unlike other films where nothing happens, such as The Blair Witch Project, there is always enough suspense here to ensure that the film doesn't become boring. On the whole, this is a great little thriller and comes with high recommendations.

Chabrol's triumph and also Stephane Audran's finest performance;only "le festin de Babette" will give her a part as strong as this one.She plays a luminous radiant beaming schoolteacher ,teaching her pupils spelling with a little help from Honore de Balzac and dance with "le menuet du Bourgeois Gentilhomme",a Molière-Lully collaboration.She epitomizes honesty,loyalty,innocence and devotion to her work.In direct contrast to her,we have Popaul,the butcher,masterfully played by Jean Yanne (He's never been as good as with Chabrol:please,please,do see "que la bête meure" (The beast must die)):He's obviously in love with Hélène /Audran but he realizes the gap between them.He's a crude uneducated brute,but his clumsiness is so touching you side with him.But we know from the start that won't be a happy story:the first scene,dealing with Cro-Magnon in dark caves heralds a story of blood and bestiality.Popaul is Cro-Magnon ,but he's also a victim of the war they waged with his blood.Chabrol 's camera insists on the war memorial,this inhuman piece of stone surrounded by four shells.LOOKS are more important than words between Popaul and Hélène,and as she begins to comprehend the horror of the situation,we know ,that in spite of what Popaul has done,she feels for him.Chabrol excels in depicting a small village ,French critics often compare him to an entomologist."Le boucher" remains his finest work to date.

From the opening title sequences we are drawn into a world torn between the veneer of civilization and the desperate struggle of the caves. Two very different and yet lonely souls meet and fall in love. Cliched, yes, but it is not the concier of love that drives this film, it is the inevitable conflict, the inevitable discovery that all is not as it seems. there is something dreadful haunting the serenity of the Dordogne valley and chabrol is going to give it every twist and turn it deserves.

Stephane Audran and Jean Yanne are not the most likely lovers, yet once they meet their attraction works we believe in them. We hope with Helene for the best and we fear with Popaul for the worst in humanity.

Ultimately the truth must come forth and when it does we believe in the truth of the moment. The characterizations are flawless. This is perhaps Chabrols best work dark moody and so tightly constructed that one must remember to breathe. (Though I must confess that I loved The Story of Women- and Madame Bovary as well)

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