Sombra do Pavor

If you liked "Diabolique" and "Wages of Fear" check out this earlier, equally good film by the same director. I was confused a bit by the quick introduction to all the characters, but the suspense is maintained and controlled with precision. The final 15 minutes are gemlike, a shuffling of possibilities, and the final 30 seconds a quick succession of powerful images. If you like whodunits, like Rene Claire's "And Then There Were None" you will like this one.

Even the children in Henri-Georges Clouzot's Le Corbeau (The Raven) are sneaky and malicious. No doubt they reflect their upbringing in the stifling French village of St. Robin, where a series of poison-pen letters – signed The Raven – has galvanized the populace into a spree of spying, whispering and finger-pointing. Most of the letters accuse an aloof doctor (Pierre Fresnay) of occupying illicit beds and of performing illegal operations – relieving women of burdens they're unwilling to bear.

The accusations aren't entirely fanciful – Fresnay has cheerless affairs going with the young wife (Micheline Francey) of a sententious, much older doctor (Pierre Larquey) and with the town pump (Ginette Leclerc), a smoldering seductress who's both lame and a hypochondriac. But the evil epistles disgorge more than enough malice to go around, alluding to dirty little secrets that touch just about everybody in this Gallic Peyton Place.

When one of the letters causes the suicide of a young man dying of liver cancer, another slips out of a wreath on his casket during his funeral procession, and yet another flutters from the rafters of the church during the requiem mass. The search for the anonymous writer reaches the point of hysteria – what else does the unseen assassin know, and who will be the next victim? Alone among the townsfolk, the mother (Sylvie) of the suicide seems resigned and resolute....

Clouzot has been called the French Hitchcock, but when Le Corbeau hit the screens in 1943 – released by a German production company during the Nazi occupation of France – he wasn't welcomed as warmly as the mischievous but harmless cherub across the Atlantic. its mordantly unflattering portrait of the French bourgeoisie was shunned as little short of treasonous. To be sure, Le Corbeau, like most of Clouzot's work (Diabolique, The Wages of Fear) seems to take Shakespeare's misanthropic Timon of Athens as inspiration for its outlook on humanity; it's certainly no tourist brochure for the French provinces.

When Otto Preminger remade the movie in 1951 as The 13th Letter (setting it in the Province of Québec, and starring Michael Rennie, Linda Darnell, Charles Boyer and Constance Smith), he had to pull back from the nastier material – the routine, glum adultery, the rumors of abortions – and apply rosier tints to the characters. None of that sentimental nonsense for Clouzot, who unrepentantly hewed to his malevolent vision right to the bitter end.

It is one of films who offers so manz impressive gifts to its audience than is difficult to choice one more significant.

First, it is a war film, courageaous in profound sense, offering the precise message, defining an ordinarz realitzz not easz to be accepted or recognized.

It is one of great works of Clouzot , in which not the author of letters ( the mistery is less obscure than you suppose ) but the revelation, in precise manner, of basic, fundamental truths represents the main virtue.

It is the film, in same measure, defined by brilliant performances and by clear, precise verdict about essence of human nature.

There's a scribe with claws who's writing to the town, to people in high office, to bring them down, takes the name of Le Corbeau, that's a crow if you don't know, leaves them squawking, screeching, crying, full of woe. The target seems to be Rémy Germain, a doctor who may offer, abortion (he doesn't), but there's others with secrets, who may have closets of regrets, and dark wings are used, to take a flame, and fan.

A wonderful piece of filmmaking that takes you around the houses and rouses your suspicions on just about all the characters, before twisting and turning, snaking and worming to its devious finale. Great performances, great story, all from one of the greatest directors.

It's a legend!and a black one!The most famous scandal of French cinema during the occupation,le corbeau (the raven) has not lost its feathers even today. The facts:it was produced by the German firm "continental" where Clouzot used to work as a scripter "en chef".But people went as far as saying that the movie was shown in German movie theaters under the disagreeable title "a small town like so many other ones in France" .Balderdash!The movie was never released in Germany at the time. As Roger Boussinot wrote in "l'encyclopédie du cinéma"(1980),"the bourgeoisie ,be it French or German was all the same everywhere,and Hitler,whose fortunes were on the wane ,had to treat his own (bourgeoisie) gently.Actually,the film ran into difficulties after the Liberation.It was the ideal scapegoat,and along with so many others ,like Sacha Guitry,Arletty(the female star of "les enfants du paradis"),Ginette Leclerc (the female star of "le corbeau")and other "collaborators" (sic),Clouzot was blacklisted.

Why so much acrimony against "le corbeau"?Because it depicted life in French provinces in a way that was far from being idyllic.Anonymous letters are sent by the "raven",and drags the town through the mud.At first sight ,it seems like a simple whodunit:Clouzot 's first effort (l'assassin habite au 21) was a thriller.But there's more to the picture than meets the eye:what was latent in the first movie,we see it in its true colors:Clouzot's contempt for the whole human race,which will increase over the years.No character in "le corbeau " to identify with:the prototype of the film noir.Where is good?Where is bad?The most famous scene remains that of the light sway :the world is not black and white,what you thought black might be white and vice versa .

"Le Corbeau' was released at the wrong time.It was too different from the "Occupation" movies which dealt with "escape" "dream" as works as Carné's "les visiteurs du soir" or Jean Delannoy/Jean Cocteau's "l'éternel retour" testify.It was 1947 before HG Clouzot was allowed to direct again.Four years has passed,and he came back to Belgian writer Steeman (whose "le dernier des six" and "l'assassin habite au 21" he had already adapted),but his venom and his misanthropy hadn't dried up,and more masterpieces were to follow.

Otto Preminger directed a remake "the 13th letter" in 1951 which I haven't seen.On the other hand ,there was a French "modern "update by Yves Boisset (Radio Corbeau,1989)which is watchable but which can't be compared to Clouzot's thunderbolt back in 1943.