Henri-Georges Clouzot
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Connections, in both directions
“Are you trying to Diabolique me?” Stephanie asks Sean at one point, a reference to the classic 1955 French film about a wife, a mistress and a murder—and a perfect alibi.
When A Simple Favor actually pushes for an film reference, cineastes at the screening I attended applauded Stephanie’s making emphatic references to Henri-Georges Clouzot’s psychological conspiracy thriller Diabolique (or maybe she’s thinking of the inferior 1996 remake with Sharon Stone?), when accusatory fingers start pointing in her direction.
There is another savvy moment, wonderfully played by Kendrick, where an increasingly paranoid Stephanie senses similarities with Henri-Georges Clouzot's classic 1955 thriller "Diabolique" and questions if she might be the victim of gaslighting.Lively is every bit Kendrick's match as Emily, a woman who can be warm one second and prickly the next, the scope of her complicated character coming gradually to light once her haunting memory is all which remains.
The French Dispatch of the Liberty, Kansas Evening Sun (2021)
Directed by Wes Anderson
influenced by Jenny Lamour (1947), Diabolique (1955)
Themes Visuals
That relationship is a nod to the one in Henri-Georges Clouzot’s “Quai des Orfèvres” (1947).
This segment takes a great deal from the Grand Guignol-influenced crime films of that late ’50s like Clouzot’s Diabolique , with a healthy dose of early Hitchcock, when he was finding his ground between the silent age and the sound era, and descends into genuine animated fantasy, as its bizarre and quite-funny car chase around the streets of Ennui is rendered in a Herge-like cartoon.
You have to go back to Henri-Georges Clouzot's 1952 "The Wages of Fear" (recently shown at the Biograph) to recall suspense this relentless.
William Friedkin’s follow-up to The Exorcist was Sorcerer, an adaptation of Georges Arnaud’s novel The Wages of Fear, which also inspired Henri-George Clouzot’s film of the same name.
The plot of William Friedkin's suspense thriller originated with the same Georges Arnaud novel that inspired Henri-Georges Clouzot's French suspense classic The Wages of Fear (1953).
It's based on the George Arnaud novel "The Wages of Fear" -- the same novel that inspired Henri-Georges Clouzot's 1953 film of the same name -- and everything else about the story is really only details in service of the chief plot development: All four main characters, in need of precious pesos to help them complete their transformed identities, are hired to drive two trucks laden with nitroglycerin over a mountain range, through a jungle and to the site of an oil-well-turned-inferno.
Sorcerer is, after all, a remake of Henri-Georges Clouzot's The Wages of Fear , though credited in the film as an adaptation of Georges Arnaud's novel.
There’s a moment in the interview with William Friedkin which forms this Blu-ray disc’s only extra in which he insists that Sorcerer is not a remake of The Wages of Fear , the award-winning and highly praised drama directed by Henri-Georges Clouzot in 1953.
…it's like The Wages of Fear redone at roller-coaster tempo.
The result is clean, delirious, and, yes, speedy—the best big-vehicle-in-peril movie since Clouzot’s “The Wages of Fear.”
One would have to go back to The Wages of Fear , Henri-Georges Clouzot's 1953 film about hired European workers moving nitroglycerin over mountain dirt roads, to match The Hurt Locker 's mix of intelligent character observation and white-knuckle tension.
Director Franju brings to this grim story—by Diabolique and Vertigo authors Pierre Boileau and Thomas Narcejac—a wry humor at times, helped along by Maurice Jarre's wonderfully bouncy and off-kilter score.
The idea for "Eyes" was worked on by several writers, including first assistant director and future director Claude Sautet as well as by Thomas Boileau & Pierre Narcejac (whose novels became Clouzot's "Diabolique" and Hitchcock's "Vertigo").
Franju recruited the nefarious duo Pierre Boileau and Thomas Narcejac (responsible for Diabolique and Vertigo among others) to adapt Jean Redon's novel, and the scenario smells of their usual queasy blend of police procedural and obsessional guilt; the cops here fumble around and send a decoy almost to her doom — they don't know they're in Boileau/Narcejac territory and therefore irrelevant.
The great Thomas Boileau and Pierre Narcejac, whose stories provided the basis for Diabolique and Vertigo collaborated on the screenplay with Franju, building a measure of suspense as outside forces conspire to stop the doctor in his tracks, but it's Franju's atmosphere that keeps the film interesting.
Working from an adaptation by the team of Pierre Boileau and Thomas Narcejac (known for the novels that morphed into Vertigo and Diabolique), director Georges Franju has fashioned a terror tale that's as poetic as it is horrific, buoyed by the ascetic camerawork by Eugen Shufftan (a year before he took the Oscar for The Hustler) and an early score by Lawrence of Arabia composer Maurice Jarre.
Bizarrely, what begins as a reprise of the drug-crazed Alfred Molina scene from Boogie Nights mutates unexpectedly into an LA-bound remake of The Wages of Fear , with kids instead of dynamite as the truck’s volatile cargo.
The title card that ends classic French shocker Diabolique (Henri-Georges Clouzot, 1955) asks the audience not to reveal that film’s ending to the audience.
But the biggest star here may be Fincher’s surgically precise insight and silky style of suspense, which makes this film a modern companion to such classics as Hitchcock’s “Vertigo” and Clouzot’s “Diabolique.”
On the upside, this may be no "The Wages of Fear," but most of the action is compelling, even during the flood scenes, where it's tough to piece together exactly who is where and what's happening to whom.
You may be reminded of Gothic romances like “Jane Eyre” and “Rebecca,” or the Euro-noir manipulations of “Diabolique” and “Gaslight.”
For the film-nerdy there are allusions to Duel or even The Wages of Fear and/or Sorcerer abound (we've got a truck, and bad things are afoot), but the purest exemplar I can equate it to is the Mercedes transport that Indiana Jones beats up midway through Raiders of the Lost Ark.