Posts Tagged ‘French’

looking upGeorges Franju‘s Les Yeux Sans Visage or Eyes Without a Face is a poetry of images, disturbing images, yes, but also beautiful images. Eyes, of course are everywhere.

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Obsesses eyes, frightened eyes, hopeful eyes, wary eyes, longing eyes, searching eyes, blank eyes, dead eyes, wondering eyes. Edith Scob‘s eyes are the most impressive and expressive because for most of the movie that is all she has to emote with as Christiane Génessier the faceless woman behind the mask.

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Carol Clover points out that, like folk-tales, horror films have a predictable cast of characters, namely the victim, the monster, and the hero (12), but in modern horror films, enabled by the rise of feminism, often the victim and hero combine together to form what Clover calls “the female victim-hero” (4). Clover also discusses the story of Carrie White from the film Carrie based on the novel by Stephen King in which, throughout the story, Carrie takes on all three roles. I suggest that Christiane does the same in this film.

eyes3 In the beginning of the movie Christiane is presented as a victim trapped in her ivory tower by her controlling father and his over-loyal assistant. She is treated more like a doll than a person, and she resembles a doll as well. eyeswithoutaface390Her mannerisms come across as very doll-like. When the mask is on, she does not speak throughout the first part of the movie. When she sneaks out of her room and hides in the garage watching her father and his assistant come out of the hidden passageway, the audience wonders what she will discover and what she will do about it.

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However, her actions upon finding the girl strapped to the operating table reveal that she was aware of the room and it’s purpose all along, framing her as, if not accessory to the actions taken there, at least complacent in them, revealing a monstrous nature along with her monstrous face. The mask takes on a more sinister feel reminding one of other silent, masked monsters.

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WHEN-DOVES-FLYAfter the new skin graft does not take, and she returns to her mask, she once again takes on the role of victim asking the assistant to kill her using the drugs that her father uses to put down the dogs that he experiments on. Finally, she turns into “a monstrous hero” (4) when she kills the assistant imagesCAOOP1ISand sets free the next girl scheduled for mutilation as well as the dogs, who ironically tear off the face of the doctor.

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 But as she wanders off into the night, one wonders what she will become next.

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It is the ghost story, that moves Diabolique into the realm of horror movie. What starts out as a drama about two women planning the murder of their common abuser turns to a psychological thriller when the dead man’s body disappears. Brigid Cherry in Horror says that in psychological films “modes of effect can be created through suggestion, the use of lighting, sound effects and music” (80). In Diabolique,  Henri-Georges Clouzot  uses these techniques to create uncertainty and uneasiness in his audience. LesDiaboliquesImage

Is Michel really dead? He sure looked dead, but then what happened to the body? Is someone setting the girls up for blackmail? Is someone just messing with them? About the time when the girls union falls apart and Nicole leaves the school, I had figured it out. I know I have seen a similar movie, but can’t remember now what it was.  It is something worthy of Hitchcock. If I had not caught on to the betrayal diaboliqueI would have felt more of the emotions that Clouzot was trying to evoke from his audience. I understand why he added the warning not to give away the secret to others who had not seen the movie and so for the sake of anyone reading this that has not seen it, I will not give it away here. The ghostly twist at the end I did not see coming.