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Anthony Perkins Movie Reviews & Film Summariesby Roger Ebert     November 9, 2. Claude Chabrol, who died Sunday, Sept. New Wave and a giant of French cinema.

This interview, which took place during the 1. New York Film Festival, shows him at midpoint in his life, just as he had emerged from a period of neglect and was making some of his best films. By Roger Ebert NEW YORK - - Claude Chabrol's "This Man Must Die" is advertised as a thriller, but I found it more of a macabre study of human behavior. There's no doubt as to the villain's identity, and little doubt that he will die (although how he dies is left deliciously ambiguous).

Unlike previous masters of thrillers like Hitchcock, Chabrol goes for mood and tone more than for plot. You get the notion that his killings and revenges are choreographed for a terribly observant camera and an ear that hears the slightest change in human speech. For this reason, particularly, it's necessary to put up a squawk and insisted on the film's original subtitled version; without the rhythm of the sound track, the movie simply doesn't work. New Yorkers saw the subtitles, of course, but Allied Artists apparently decided to let the rest of the country see a wretched botch of a dubbing job. I wouldn't be surprised if the dubbed version flopped; "Z" ran for months in its exquisite subtitled version, but flopped in the neighborhoods because a lousy dubbed version was substituted. Let's face it. Movies by director like Chabrol or Costa- Gavras are intended for the more literate section of the movie audience. You can dub a spaghetti Western and nobody cares, but mess with Chabrol and you're eliminating the very quality audiences respond to in his work.

In any event, we're seeing the good version here, and it is one of the best Chabrol films since he began his new career as a student of murder. With Godard veering ever more erratically into left field, and Truffaut exhibiting an alarming tendency to get cute, it's actually beginning to appear that Chabrol will become the front- running French director of the 1. Yet as recently as 1. Interviews with Film Directors," Andrew Sarris was actually able to write about Chabrol in the past tense: "He quickly became one of the forgotten figures of the nouvelle vague . Chabrol found himself so demode by the mid- 1.

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But just then, when his career as a serious director seemed most in doubt, Chabrol arrived at the 1. New York Film Festival with "Les Biches." It was an artful combination of lesbianism and very Chabrolian irony, with a nice bit of murder at the end, which forced you to re- think all the characters. And Chabrol, the first of the New Wave directors to be hailed and the first to be dismissed, was very clearly back in business again.

Les Biches "Les Biches" was the first film Chabrol made with Andre Genovese, a young Parisian who is, Chabrol says, the only producer he has ever been able to work happily with. Watch The Shadow People Online Free 2016 here. They followed it with "La Femme Infidele" (1. Watch Richard The Lionheart: Rebellion 4Shared on this page. Chabrol's greatest critical success since "Les Cousins" a decade earlier. Then came "This Man Must Die," "Le Boucher," one of the hits of this year's New York Film Festival, and "Le Rupture," still unseen in the United States. We're certainly going to have to change that title for the American release," Chabrol notes cheerfully.) Taken together, this group of films seems to announce that, at 4. Chabrol is finally realizing the great promise of his early career, There have been 1.

Chabrol features so far, and they reflect a distinctly erratic chapter in the history of the New Wave. Chabrol was there at the very beginning, first as a critic for Cahiers du Cinema and then as the director of perhaps the first New Wave film. His "Le Beau Serge" (1. Truffaut's "The 4. Blows" by a few months, and when Godard's "Breathless" appeared the original triumvirate of New Wave directors was established. It still rules. Chabrol's sensationally successful "Les Cousins" followed, also in 1.

A Double Tour" and "Les Bonnes Femmes." Although he was by then routinely linked with Truffaut and Godard, his style and taste in material didn't resemble theirs (nor did they resemble each other, of course, although they made a convenient grouping because of their common disregard for the existing writer- dominated French cinema.) Chabrol's 1. Landru," from a screenplay by Francoise Sagan about a World War I mass murderer, can be seen in hindsight as characteristically Chabrolian but having little connection with the concerns of other New Wave directors. It was coolly professional and exhibited the fascination with murder that has been his subject in all the recent films produced by Genovese. Le Boucher "Landru" was a commercial and critical success, but "Ophelia" the same year was a failure, beginning a period of involuntary idleness for Chabrol. He married the actress Stephane Audran in 1. Jean- Louis Trintignant's former wife and had starred in "Les Cousins"). And then he announced a number of projects, but nothing came of them.

In 1. 96. 4 he directed the first of three comedy thrillers he considers potboilers. All three were frankly jobs done for money, and if some auteur critics defended them, not many others found them worthy of Chabrol. A 1. 96. 7 "comeback" project for Universal's European production division, "The Champagne Murders," starred Anthony Perkins and was praised in France. But the mutilated U. S. version was a disaster.

One night recently, Chabrol sipped a Scotch and soda in the Greenwich Village apartment of a friend, and talked about it. How do you become a director? First, you must start. Second, you must find a producer who is a human being. Andre Genovese is a human being. I can say of all my previous producers that I hated them and they hated me.

Just before I met Andre, things were at their blackest. I was doing 'The Champagne Murders,' and the producer, so called, was a young man named Jay Kanter who was in charge of Universal's operation over there. He was a good agent, they told me. Why not? But as a producer he was a joke. After I finished the film, they brought in an editor who was described as a 'doctor.' He was supposed to make a film out of my film. So what did he do?

He made a hodgepodge. For the English version, he cut out 2.

I made the film." Chabrol spread his hands in a gesture of futility. Editors have an uncanny ability to find what you feel is most important, and cut it out," he said. I could have made a stink, but I wasn't in a very strong position just then. At least they let me have the final cut for the French version. Perhaps I'm not the purist I ought to be.

When we were all writing for Cahiers, we looked at Hollywood films that everyone thought were commercial, and we discovered art and morality in them. Fifteen years later, with these recent films of mine, perhaps I'm taking art and morality and making them commercial . Watch In Dubious Battle Dailymotion on this page.

In a sense he's correct, although "commercial" is a word too negatively charged to describe the exquisite subtlety of "Le Boucher" or "This Man Must Die" (even if they are advertised as thrillers). Perhaps professionalism is the quality that ought to be substituted; the early Cahiers critics appreciated that quality to such a degree that they actually prized directors whom accepted routine assignments and turned them out competently. Even today, when the budget is not exactly critical, Chabrol makes a point of telling you that John Ford shunned covering shots, and that every shot Chabrol takes is in the film. Because Genovese respects this, Chabrol says, he gives Chabrol a free hand in making his films, and that, you see, is why the last three years have been so productive for Chabrol. Most of the French producers," Chabrol explained, "are like Zanuck. No, not like Zanuck.

Like a little Zanuck. I have a certain regard for Zanuck himself.

You know I used to work for him. That's right! I was the Paris publicity man for 2.

Century- Fox in 1. Chabrol sipped his Scotch very seriously, for comic timing, and then allowed himself to grin.