La femme infidèle

What Michel Bouquet does in his role as the husband to Stephane Audran's title character can only be described as an acting tour-De-force. MAGNIFICENT!

Audran is not bad herself, but a notch less than stellar. Or maybe her performance just pales in comparison to her co-star. As does pretty much everything else in the film. From a certain point onwards, it is Bouquet who becomes the co-auteur, as for as the viewer is concerned.

The film has a very remarkable score, which Chabrol uses effectively as if both checking, and challenging the Hitchcockian legacy of pronounced scores in the thriller realm.

With unmistakable, (still his kind of) nouvelle-vague elements, the film admirably reflects director's familiarity with the classic genre and its (then) modern subversion.

With unmistakable, (still his kind of) nouvelle-vague elements, the film admirably reflects the director's familiarity with the classic genre and its (then) modern subversion. The economy and brilliance of shots is such that viewer cannot take eyes off screen, not for one sec. The last shot alone informs a good lot more than an average novella. And demands a separate essay I am not gonna write. However, it becomes quite clear early on that this auteur, unlike some others, is not at all that keen on subversion for the very sake of it.

La Femme Infidele has all the bearings of a rebellion forgone, if you please. It definitely looks like the work of an auteur, but not just a rebel kind, but a mature mind, someone well on his way to become a real master of the medium: already he affords to be audacious, or flexible, every which way to fulfill demands posed by his art. This audacious flexibility in turn provides the auteur opportunity to comment, in his fashion, if not alter the rules of the genre that he is seen, here as well, rebelling against and compromising with.

In Versailles, the upper-class Hélène (Stéphane Audran) and Charles Desvallees (Michel Bouquet) live a boring and detached life in their comfortable house, and their only common interest is their beloved son Michel. Every other day, Hélène commutes to Paris and Charles suspects that she might be cheating on him. He hires a private eye and a couple of days later, his suspicion is confirmed. The investigator tells him that Hélène is having a love affair with the writer Victor Pégala (Maurice Ronet) and delivers a picture of her lover with his address to him. Charles visits Victor in his apartment in Paris and introduces himself as Hélène's husband; Charles lures him saying that he has an agreement with his wife that tells details of her encounters. Out of the blue, Charles hits Victor's head with a statue and kills him. Then he dumps the body in a dirty lake and comes back home. Soon, detectives Duval (Michel Duchaussoy) and Gobet (Guy Marly) interview Hélène explaining that Victor is missing and her name is in his address book. When Hélène finds the picture of Victor in the pocket of Charles's jacket, she destroys the evidence and learns that her husband loves her. But the police inspectors are coming to their house again to talk to Charles.

"La Femme Infidèle" a.k.a. "The Unfaithful Wife", is another magnificent thriller by the master of suspense Claude Chabrol. The story of a couple with a routine life lacking passion and sex that is revitalized by the adultery of the wife and the murder of her lover by her husband is sort of ironical and tragic. The open conclusion is left to the interpretation of the viewer and is also a trademark of Chabrol. In 2002, Adrian Lyne remade this film without the ambiguity of the original film and including an inexistent moral dilemma, as the usual pitiful practice of Hollywood industry. My vote is eight.

Title (Brazil): "Mulher Infiél" ("Unfaithful Woman")

Note: On 04 December 2024, I saw this film again.

"La Femme Infidele", which was released in 1968, followed quickly on the heels of "Les Biches", (which, in a perhaps playfully arrogant way, is shown as playing in a cinema during the course of the film), and continued a glorious return to form for Chabrol after a too-long fallow period.

It was the first of a series of what could be regarded 'studies in adultery' starring his wife (and muse), Stephane Audran. In this one a loving husband suspects his wife of being unfaithful and, having had his suspicions confirmed by a private detective, determines to confront her lover.

Although he's often described as the French Hitchcock, Chabrol, while he has consistently proved that he has mastered the basic techniques of the suspense film genre, invariably has been at least as equally interested in the study,- indeed dissection, - of the mores and behaviour of the French bourgeoisie.

While this categorisation might suggest a tendency towards dry academic study, he has shown in his best features a masterful ability to employ a variety of techniques to present his case in a telling manner. In this instance he employs, variously, a combination of subtle character study,suspense film, Pinteresque drama, and some black comedy.

He is greatly assisted here by a clutch of exceptional performances: Audran and Maurice Ronet as the lovers, and, best of all, Michel Bouquet as the suspicious but loving husband.

(As an aside, and I'm not sure whether she served any function in the film other than mere decoration, but the husband's mini-skirted secretary appeared to me to have wandered onto the film from an adjacent French farce. But then,perhaps,it was just a case of Chabrol conforming to the norms of the day.)

Among the superbly-crafted high-points were the confrontation between lover and husband; the various domestic conversations between husband and wife where the nature of their relationship is carefully and beautifully delineated; the various conversations with the investigating policemen; and a masterly final scene (where even the briefest explanatory description would be too cruel for those who've yet to see the film).

Overall, however, what ultimately elevates the film to greatness is the way in which Chabrol presents his subjects as determined to maintain the domestic equilibrium, irrespective of, and almost oblivious to, temporary 'crises' and 'inconveniences'. And in the way in which, he, as director/puppetmaster, while at times apparently mocking, simultaneously persuades us to sympathise with his subjects

Quite possibly his finest film: but certainly quintessential Chabrol.

The two characters primarily involved in Claude Chabrol's 1969 French thriller The Unfaithful Wife have, at least at the beginning, rather an idyllic and somewhat pleasant set up in their lives. When we first encounter them, we see both the husband and titular wife with their rather extended family in a large garden on a warm, sunny and welcoming day; the tone of the exchanges polite, the activity nothing out of the ordinary nor needlessly extravagant. The opening shots of such imagery are quite crudely broken up by a blurred effect which drowns the screen of its focus, the ideal family unit itself thus becoming difficult to firmly latch one's eyes onto; the credits begin, some rather harsh and somewhat official looking credits that scroll upwards in a military manner whilst some distorting piano music plays overhead. It's a fleeting few minutes or so of idealism in-between such a sequence, the film going on to form a superior mediation on human behaviour masquerading as a causality thriller as paradise is rendered corrupt and peeking beneath the surface of the upper-classes reveals deception and titular unfaithfulness.

The film is unrelentingly fascinating, a piece never for more than a few seconds ever in the slightest bit uninteresting; a grim and somewhat bleak study how love, anger and victimisation brew together to create a cocktail of violence and anguish and how that in itself can come to forge a relationship which was never initially set in stone. The film's methodical lead is Michel Bouquet's Charles Desvallees, a lawyer with his own office located in a small enough building amidst the bustling Parisian streets away from the large, more ruralised country house in which he lives with his family. The family, of which, is made up of the titular wife, a certain Hélène (Audran) who's about the same age as her husband and is the mother to young son Michel (Di Napoli). The warm and welcoming day in the garden spent with Charles' mother and Hélène's in-law turns into evening, Charles' verbal illustrating of various plans he would like to have happen the following day involving both he and Hélène out and about doing things are shot down with casual reasons which excuse Hélène from attending. As they sit and observe a television broadcast later on during the evening, the signal begins to break up and the machine ceases to function as well as it might, thus further insinuating a breaking down of communication of an operative item and echoing their marriage.

At work, and aside from Charles' rich circle of friends and busy schedule, he observes through young female secretary Brigitte (Turri) the very essence of temptation. His suspicion brought about by his wife's behaviour, and Chabrol's own channelling onto the audience of signs and notions towards an upsetting of a paradise-like set up or the malfunctioning of a working order, beginning to resonate. Desperate, as thoughts; feelings and drama all at once clinically escalate, Charles darts to the nearest payphone to call a place of business Hélène said she'd be; the piano music from earlier only suggesting at something seriously wrong with what idealism we were seeing beginning to pipe up again to form the overlying soundtrack to the news she is not where she said she'd be.

The painful inevitable is confirmed when a private detective Charles hires reveals to him the truth; that Hélène is, in fact, having an affair and with a writer named Victor Pégala (Ronet) based not so far away. The film allows Charles a moment you sparsely see in today's age of thrillers; a moment of contemplation that has him stand beside a river flowing through the urbanised locale in which the reveal was announced so as to merely look across to the other side of it, digesting what it is has been exposed to him. It is around about here in the film that Chabrol applies a gear change so dramatic and so effective that it propels the piece beyond its combined brooding roots of paranoia and suspicion and into an echelon of unpredictability; horror and human emotion in its some of its rawest forms. In short, the switch in tone and content works remarkably; the film coming to have Charles journey to the man and see him.

The film's causality infused thrills and scares following the venturing into the territory it goes near does nothing to distract the film from its overall tract; it is a film that is able to evoke just as much an on-edge reaction from its audience following a character's glance or nervous facial reaction as it can from a minor car accident. Chabrol's capturing of some of the interplay towards the conclusion as two people are forced into hiding varying secrets from both one another and the police is fascinating, and the film does not loose sight of son Michel's role as the picturesque representative of innocence caught up amidst all this and made to suffer out of others' ill-gotten decisions. Chabrol's overall ending is decidedly bleak, but his conclusion that the two we examine whom previously appeared to fall away from each other only to reconnect when some sort of duality was established, is dangerously uplifting given the sorts of events which aided in this and the actions the lovebirds undertook; all of it combining to form a superior thriller of an immensely sophisticated ilk.

'The Unfaithful Wife' is really about a faithful husband, who will kill to save his marriage. This kind of fidelity is a chilling exercise of power - the film's many point-of-view shots are mostly his - with adultery a rebellion, a bid for freedom that must be crushed. It's not enough that Charles uncovers his wife's lover, he must sit on the bed they make love on, drink the same drink...

Chabrol's most perfect film, where character inertia is expressed in blatant artifice, both in the home and in 'nature'; where a materialist filming of materialists conceals an austere spirituality, embodied in those Fateful policemen. Like his namesake Bovary, Charles sleeps when his exquisitely beautiful wife offers herself to him. He deserves what he gets.