| Videos |
| Emmanuelle Béart | ... | Nelly | |
| François Cluzet | ... | Paul Prieur | |
| Nathalie Cardone | ... | Marylin | |
| André Wilms | ... | Doctor Arnoux | |
| Marc Lavoine | ... | Martineau | |
| Christiane Minazzoli | ... | Mme Vernon | |
| Dora Doll | ... | Mme Chabert | |
| Mario David | ... | Duhamel | |
| Jean-Pierre Cassel | ... | M. Vernon | |
| Thomas Chabrol | ... | Julien | |
| Noël Simsolo | ... | M. Chabert | |
| Yves Verhoeven | ... | Young Boy | |
| Amaya Antolin | ... | Mariette | |
| Jean-Claude Barbier | ... | M. Pinoiseau | |
| Claire De Beaumont | ... | Mme Rudemont | |
| Pierre-François Dumeniaud | ... | M. Lenoir | |
| René Gouzenne | ... | M. Ballandieu | |
| Marie-Thérèse Izar | ... | Mme Pinoiseau | |
| Dominique Jambert | ... | Young Woman | |
| Louis De Leotoing d'Anjony | ... | Vincent | |
| Jérôme Le Paulmier | ... | La Fleche | |
| Vincent Mangado | ... | Young Man | |
| Françoise Meyruels | ... | Plump Woman | |
| Laurent Nassiet | ... | Little Boy at the Cafe | |
| Catherine Tacha | ... | Mme Point |
Directed by | |||
| Claude Chabrol | |||
Writing credits(in alphabetical order) | ||
| Claude Chabrol | writer | |
| Henri-Georges Clouzot | 1964 script | |
| José-André Lacour | additional dialogue | |
Produced by | |||
| Marin Karmitz | .... | producer | |
Original Music by | |||
| Matthieu Chabrol | |||
Cinematography by | |||
| Bernard Zitzermann | |||
Film Editing by | |||
| Monique Fardoulis | |||
Production Design by | |||
| Emile Ghigo | |||
Set Decoration by | |||
| Claire Amoureux-Nicole | (decorator) | ||
| Marc Barroyer | (decorator) | ||
| Frédéric Bersani | (decorator) | ||
| Pierre Galliard | (decorator) | ||
| Denis Seiglan | (decorator) | ||
Costume Design by | |||
| Corinne Jorry | |||
Makeup Department | |||
| Jean-Pierre Berroyer | .... | makeup artist | |
| Marie Lastennet | .... | makeup artist (as Marie Lastenet-Fournier) | |
| Stéphanie Lemaire | .... | makeup artist | |
Production Management | |||
| Yvon Crenn | .... | production manager | |
| Caroline Lassa | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Cécile Maistre | .... | assistant director | |
Costume and Wardrobe Department | |||
| Paule Mangenot | .... | costumer | |
| Monique Tourret | .... | costumer | |
Editorial Department | |||
| Florence Poulain | .... | assistant editor | |
| Olivier Rossignol | .... | assistant editor | |
Music Department | |||
| Laurent Petitgirard | .... | conductor | |
Other crew | |||
| Aurore Chabrol | .... | script supervisor | |
| Aline Corneille | .... | production administrator | |
| Eva Simonet | .... | press attache | |
| Gisèle Vuillaume | .... | production administrator | |
| Recent Posts (updated daily) | User |
|---|---|
| Paul Was Not the Only One in 'Hell' | LadyMargaret |
| Why Wasn't She Willing to Let Him Take Her Sexually? | LadyMargaret |
| The Cause of Paul's Jealous Paranoia | LadyMargaret |
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| Ceux qui m'aiment prendront le train | Die Blechtrommel | Como agua para chocolate | Ma femme est une actrice | Die Fälschung |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb France section |
| Add this title to MyMovies |
Quite interesting film on obsession (an obsession of jealousy, in the specific case) and on the observation that hell is man-made. I liked the very solar performance of Emmanuelle Béart, while I expected something more from François Cluzet.
In order to frame the film properly, however, one must consider that the original script is from 1964 and that Chabrol went to a certain length not to let us lose sight of this fact: the film is shot in a very 60's technicolor; one of the hotel guests uses a camera rather than a video-camera, and the scene he shoots have an unmistakably 60's flavor; the water-ski scene (the key moment of the whole film) has a 60's pace and framing,... We are obviously supposed to read the film in a 1960's perspective. And, considering the political climate in France in the 60's, and the nature of Paul Prieur occupation (he is a hotel owner, therefore a businessman), I find it impossible not to read this film as a statement of the impossibility of the bourgeois ideal of happiness.
The bourgeois values make people equipped to strive for more, but don't give them the emotional tools to deal with their life once they are "arrived." The feeling that there must be something more, and that this can't be the perfection of life is too easily translated in the feeling that there *is* something wrong (a cheating wife: the greatest shame for the latin male), and in the creation of a personal hell.
It is very significant, I think, that the film was released at the dawn of the "new economy" which, even more that the traditional bourgeois values, leads people to a life of continuous movement, and makes them emotionally unprepared to deal with being finally arrived.