Der Schlachter

Amongst the guests at a wedding are a Helene, a lonely teacher, played by Stephane Audran, and an ex-army butcher (Jean Yanne). Against their differences, the two develop a friendship. However, in the town there lurks a serial killer, and that killer may or may not be the butcher himself. Plagued with feelings of doubt and fear, Helene finds herself constantly at tenterhooks regarding her new friend (of sorts), and surprises and shocks are placed intricately until the very last frames.

At 90 minutes, this mystery feels longer than it is, and that may be due to some of the stylistic techniques adapted by director Chabrol, such as the languid and very sparse use of camera movement, and shots of the bells to contribute to a sense of time. Content-wise, he borrows from Hitchcock, using themes of shared secrets, obsession and moral ambiguity. These themes are used well, creating appropriate amounts of suspense and anticipation in the viewer, and Chabrol plays with his audience deftly, placing surprises and non-surprises in sequence so that we are every bit as nervy as Audran. He is less concerned with explaining the motives for the killings than just presenting them, and for that, and chilling atmosphere of indifference is created throughout the film.

The two leads are strong in their performances, and the slow, fragile romance between them is as credible as it is integral to the plot. In particular, Stephane Audran shines, as a woman who begins, poised, content and assured, only to finish ruffled and perhaps, as the ending shot shows, a little ruined by the events that she has witnessed. The film is carried along by an eerie, quasi-apocalyptic score by Pierre Janse and Domonique Zardi, which haunts long after the film has ended.

If the ending does feel like somewhat of a copout, that may because we as the audience have viewed one plot twist too many, and the frequency and slightness at which each twist is revealed diminishes its impact somewhat. But for the most part, this is good film-making; quite unpretentious, coolly aloof, and the subtle delivery only works to its advantage.

B+

In the village of Tremolat, Périgord, the lonely headmistress Helene Daville (Stéphane Audran) befriends the local butcher Paul Thomas (Jean Yanne), who has a trauma of war, in the wedding party of her colleague Leon Hamel (Mario Beccara). In spite of their friendship, they do not become lovers since Helene is still recovering from the disillusion of her last relationship. In Paul's birthday, Helene gives a lighter to him as a gift. During the excursion with her class to a cave in the woods, Helene finds the last victim of a serial killer that is stabbing young women in the area. She realizes that the woman is Leon's wife and she finds Paul's lighter in the crime scene but she hides the evidence from the police. When Paul visits her, she discovers that he still has the lighter and she feels relieved. However, when Paul paints the ceiling of her house, she makes a discovery that affects her sense of security.

The unknown gem "Le Boucher" is a dark, intriguing and suspenseful love story by Claude Chabrol. The plot is completely unusual and very simple, it is not tagged by an specific genre and can be resumed in the storyline; however, the screenplay, direction, performances and camera work make the difference. The opening scene shows a beautiful area in the countryside of France where the plot takes place. Helene is a fascinating character with her contradictory and ambiguous behavior and relationship with Popaul. Their chemistry is also perfect. My vote is eight.

Title (Brazil): "O Açougueiro" ("The Butcher")

Note: On 06 February 2011 I saw this film again on DVD.

Note: On 06 December 2024, I saw this film again.

Way back in the mid '80's we took a family holiday in the Dordogne where we devoted one day to a rather special pilgrimage. With the aid of a map the village of Tremolat was not difficult to find. Tremolat - the name evokes that most magical of village locations for probably our favourite and certainly most oft watched French film. On arrival what surprised us was an absence of tourists and coaches. Surely this would be like Oxford as it is now with its "Morse" tours; but with people discovering the location of the butcher's shop, the school with Madamoiselle Helene's little flat above, the church, the cemetery, the caves. But fifteen years after Chabrol made his most unforgettable film there, no one had got round to organising a "Boucher" tour. It was a case of making one ourselves. We were excited and in no way disappointed. Everything was there and we were even able to retrace the exact walk that Popaul and Helene had taken in that memorable tracking shot from the wedding party to the school in the village square. The location of the butcher's shop, although a domestic dwelling was clearly identifiable as was the school which was in fact the Mairie. As the latter was a public building we were able to enter and even mount those very same stairs only stopping when we reached the door. Beyond, an office perhaps, so we didn't break the spell by trying to enter.

Claude Chabrol died last year so this reminiscence is by way of being a belated tribute to the French director who, with the possible exception of Francois Truffaut, has given me the most pleasure over the years. I have caught up with much of his late oeuvre only in the past few months and have to confess to being often disappointed. He made far too many so there are quite a few potboilers. But way back in the crossover period between the late'60's and early '70's he made those three extraordinary psychological thrillers that are among the glories of French cinema - "La Femme Infidele", "Que La Bete Meure" and finest of all "Le Boucher". The sound of Popaul's soft cries of "Madamoiselle Helene" coming out of the darkness and the image of Helene standing alone by the river and silently staring ahead are unforgettable moments among so many. Thank you, Claude Chabrol, for the lasting pleasure of your three greatest films and for "Le Boucher" in particular.

In my ongoing program of finally seeing films I should have seen years ago, tonight I watched "Le Boucher" on VHS. After two minutes of it, I wasn't sure I could bear to watch any more. And there was no overt cause for my uneasiness! All that was being shown was a simple country wedding banquet--yet there was such a palpable sense of unrest and evil that I felt like crawling down into the sofa to escape from it. And this relentlessly oppressive atmosphere persisted through the entire film.

How Claude Chabrol managed this seeming magic is beyond my comprehension. He instantly draws the viewer into a world very similar to Hitchcock's, but without the comic relief that Hitchcock unfailingly put into his films. Without the relief of tension that comedy affords, the experience of the film becomes almost unbearable--but I managed to sit through this entire short masterpiece, marveling at how a skilled director can create so much nerve-wracking suspense with so few means.

I was especially impressed by the film's totally unpretentious nature. The lighting is downright amateurish (on purpose, I'm quite certain), there are no special effects whatever, the dialogue is simple and straightforward: and in a theatrical setting, I think I would have been about scared out of my pants.

I can see why Chabrol has been called "the French Hitchcock." The honor is well and truly deserved.

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)...