Le Corbeau

A very nihilistic case of misanthropy. Expressionist cinematography, the ominous toll of a church bell, a town seeping paranoia and the bitter people who inhabit it... this is among the bleakest of films noir, made before the French (and by extension anyone) formally had a grasp on the concept, resulting in a bit of alienation. Does it vilify the people for their mob mentality (Dr. Verzot's perspective), or does it embrace "necessary evils" (Dr. Germain's)? A little bit of both, maybe.

Clever social commentary meets labyrinthine whodunnit. Clouzot keeps us guessing, and the characters are relatively well-rounded, not merely pawns in a game.

According to this bleak, allegorical tale, it doesn't take much, or really anything, to get people to turn on each other. This is a harsh and uncompromising look at the worst in people and of how easy it is for the social bonds, even within the smallest of communities, to fracture and come undone. An atmosphere of relentless dread and paranoia hangs over the entire film, and the resolution of the central mystery provides few answers and even less comfort.

An interesting commentary on WWII Nazi occupation of France, showing how easily people will turn on one another through bandwagoning, specifically. Was ironically financed by Goebbles' film company during said occupation.

Early French film noir that shows how easy it is to whip people into a paranoid frenzy.

The kind of thing that you (I) want to mark up for how it must have played to those primed for it, but the unsparing cynicism is still perfectly terrible today. "Terrible" I use like Salman Rushdie describing Flannery O'Connor's "Good Country People". Lotta those in this. And despairing barbs worthy of Nathanael West. And that opening shot with the doors is supposed to be, like, the vagina, right? 'Cause then it's right into the clandestine abortion, right? Right?

Clouzot really knows how to do an ending. Not as gripping throughout as his later masterpieces, but well visualized and paced.

Fantastic entertainment. Don't look for any warm, fuzzy moments here...Pauline Kael aptly observed, "there's not a likable person in the entire film", and said that "at the time, the depravity and political corruption revealed in this slice of provincial life were nastily shocking." People are, I hope, more worldly now, but the plot turns are most agreeably creepy and chilling.

I like the idea, but the plot is getting boring along the movie.

Le Corbeau has a really pleasing rhythm to it and is constructed exactly like a good suspense thriller should be. The multitude of characters and the confined milieu of a small french town form a set-up that's a joy to experience on film, while the concept represented by le Corbeau as the ominous feature of the film satisfies the need for enjoyment derived from the elements of mystery on screen.

So mysterious, cynical and bitter! There was so much of it to appreciate that I have a feeling I'd love this even more if I was to watch it again. Everything from the frustrated doctor, the screwfaced slut in bed, drugged up old man investigating, and the many jealous suspects in this poison pen mystery, made for a enticing experience. Superb film from Henri-Georges Clouzot!

clouzot's work will be remembered as a perfect example of resolution of the fragile society dynamics by an external effect. chaos on small town, community pressure and tension of unknown had given to audience proper way with the use of film-noir elements and hitchcockian style.

It's alright. Intriguing without being gripping. Certain sequences - the funeral procession, the letter fluttering down from the church gallery - linger in the mind and the final act keeps one guessing, but unmemorable characters don't help. Not a patch on the later Les Diaboliques and its creepy atmosphere.

A consistently intriguing story, though it's up against its own cinematic flaccidity. As fun and as cleverly analogical as this story may get, I did feel the community's overreaction felt rather forced, though the main characters have a quality film noir presence to them, like the assertively up-tight Germains and the sultry Denise.

The paranoia is intense for much of the running time, as the mystery behind "who is the raven" caused me to try to guess who was responsible. The very ending is excellent, but the back and forth before it started to grow weary. It does, however, cut to the core of how quickly humans can turn on one another when threatened.

83.500

isimsiz mektuplar, doktor, yasak ask, topal kadin, iki kadin arasinda bir adam (Kasabada görev yapan doktor bir psikiyatristin genç esi Laura ile flört etmektedir. Doktora, Laura'ya ve psikiyatriste gelen mektuplar iliskiyi desifre eder. Bu arada doktorun kaldigi panisyondaki Denise isimli kizda doktordan hoslanmaktadir. Doktor ondanda hoslanmaktadir. Mektuplar ise artik tüm kasabaya gönderilmistir. Herkes hakkinda kargan,in söyleyecegi bir sey vardir.) Bunallti.

A cunning and elusive mystery film, touching upon some interesting themes.

85.750

Gave me just what i expected from Clouzot: a clear focus on every single character, with juicy (1940s) psychological insights and the most wonderfully made anatomy of a small town. Still, could have been a tad better executed, some scenes could have been revised a bit. Maybe it could have avoided the "whodunnit" trap better, but the centrepoint is still the concept, the idea, which kept me watching. encore un peu de Clouzot, svp!

Concept is great but the delivery is postage due

#928

It's "The Monsters Are Due on Maple Street" except feature length, French, and mostly boring. Despite the somewhat sinister nature of Le Corbeau's spread of misinformation, the mystery doesn't ever get particularly intriguing. By the end it avoids a lot of explanation, which is fair for what it's trying to say, but the concept runs out of steam long before it's over.

"Good thing I got that letter"

Another Clouzot classic.

Terrific

866

I love Clouzot's patient style, allowing the camera to settle on his subjects, which works to build the tension alongside that which is going on in the town. The subtext is clear, and this is a bleak portrait of humanity, but one in which ultimate judgment is not absent. Great film.

Sombras do pavor estreava há 80 anos na França. O filme definitivo sobre a ocupação alemã e seus colaboradores, ter sido produzido pela Continental dá um sabor a mais na alegoria sobre Vichy. Box OP Henri Georges Clouzot.

A look at residents of a small town and quickly they're willing to turn on each other. While not quite as powerful as it would have been in occupied France, it still holds up well as a look at the all too real truths of how quick and willing people are to turn on each other.

About on par with Quai des Orfevres (but with a much better ending), not quite as good as Les Diaboliques.