6.5/10
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7 user 12 critic

Le cri du hibou (1987)

After separation from his wife Robert moves to Vichy where he observes beautiful Juliette. Her fiance Patrick becomes jealous and attacks Robert. When Patrick disappears Robert is suspected to have killed him.

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(novel), (scenario) | 5 more credits »
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Cast

Cast overview, first billed only:
...
Robert
...
Juliette
Jacques Penot ...
Patrick
Jean-Pierre Kalfon ...
Le commissaire / Police commisionneer
Virginie Thévenet ...
Véronique
Patrice Kerbrat ...
Marcello
Jean-Claude Lecas ...
Jacques
Agnès Denèfle ...
Suzie
Victor Garrivier ...
Le médecin
Jacques Brunet ...
Le père
Charles Millot ...
Le directeur
Yvette Petit ...
La voisine
Dominique Zardi ...
Le voisin
Henri Attal ...
Un flic
Albert Dray ...
Un flic
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Storyline

Robert is an architect and artist, in Vichy after separating from his Parisian wife, Véronique, herself newly engaged. Robert finds it calms him to stand in the shadows of the home of Juliette and Patrick and watch her cook. She thinks he's a prowler and confronts him, then invites him in. Soon, she's dumped Patrick, decided she's in love with this stranger, and pursues him. Robert's diffident, Patrick is furious, and violence follows. The police are incompetent, Véronique sees an opportunity to play revenge games, and the impressionable Juliette is ensnared by thoughts of death. Can anyone exercise reason? Written by <jhailey@hotmail.com>

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Release Date:

28 October 1987 (France)  »

Also Known As:

The Cry of the Owl  »

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1.66 : 1
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Trivia

One of two adaptations of Patricia Highsmith's novel "The Cry of the Owl" that was released the same year, the other adaptation is Der Schrei der Eule (1987). See more »

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Version of Der Schrei der Eule (1987) See more »

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User Reviews

 
Adept adaptation of a creepy Highsmith novel
1 May 2006 | by (United States) – See all my reviews

M. Chabrol has done a strong, creditable job of transferring the powerfully discomforting world of Patricia Highsmith to the screen. Highsmith's characters become moral monsters through a condition of absolute confidence in their own warped psyches. These characters never learn, or understand themselves. Their lies to each other are absolute because they lie to themselves absolutely. No cliché goes unpunished. Characters become moral monsters without losing their sense of rightness. They seem powerless not to act in self-destructive ways.

The film is not equal to "Strangers on a Train" or "Purple Noon," other adaptations of Highsmith's work. But it is faithful in spirit to a novel which is itself not equal to the literary sources of these films. See it with an open mind and revel in the creepiness. Chabrol is a sufficiently great artist to allow another great artist her night cry.


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