Claude chabrol's Image Art

"Beautiful Serge" is about a man who returns to the suburbs from the city, lives alone in a deserted village surrounded by mountains, and finally degenerates and empties because of alcoholism. Even the priest couldn't save him. Later, he fell in love with his wife's sister and was reborn after giving birth to a child. The second film Cousins is just the opposite. It was the country cousin who went to the city, saw the rich cousin's life in college, and drank and reveled all night, which was the depravity of the city. Both cousins studied law, but no matter how hard they tried, they were not as good as cousins and lost to them in love. The angry cousin decided to kill his cousin, but he didn't succeed and was killed by accident. The film's style tends to be simple naturalism, depicting the misery of rural youth in an unconventional way, and establishing claude chabrol's important position in the new wave. Both films made money. After claude chabrol's "Beauty" and other films, the film followed several middle-and lower-class shop assistants in Paris, and saw them gradually walk into the trap of urban abnormality and tragedy in the emptiness of life, becoming the objects of different predators, and even becoming the sacrifices of death. These works quickly established claude chabrol's style: the social background with clear details, the plot of popular drama, and the calm observation of the intimate relationship between people, which eventually led to tragedies such as murder and death without exception.

Although claude chabrol handled a lot of types, most of them evolved from the embryonic form mentioned above, such as pure thriller black Web of Enthusiasm, political thriller blood relatives, lesbian drama Doe, spy farce The Road to Colin, social serial murder case Blue Beard and the Butcher, etc. Claude chabrol's Rules for Doing Business has a compact plot, full of suspense and anxiety, sometimes bizarre and humorous (beauty and O 'Filja), and sometimes psychologically scary (cheating women and killing animals). His analytical aesthetics often made the audience sympathize with the murderer rather than the victim, which was all the rage in 1960s and made claude chabrol's economy safe. Critics who like him think the film contains gloomy pessimism, while critics hate his arrogant moral attitude.

The research points out that claude chabrol's films are roughly divided into two axes, one is the adultery drama he devoted himself to after knowing his second wife, Stefana Audland, and the other is the thriller he used to analyze the French petty bourgeoisie.

Audland and claude chabrol have worked together in many films, including The Butcher, The Cheating Woman, Breaking Up and Before Nightfall. The analysis of the middle class has a wide range, some are bitter and some are slightly sympathetic, but claude chabrol always leads the tension to murder and violence in an orderly way under the rituals of daily life (such as eating, going to church and social gatherings). Molly haskell, a feminist scholar, is very interested in Audland in The Mirror of claude chabrol. She said that claude chabrol revealed that Audland is a group of modern middle-class civilizations that are numbed by materials. They are so boring that only subtle and primitive evil can disturb them a little. Therefore, an unfaithful woman is a husband who kills his lover to awaken her love for her husband; The teacher in "The Butcher" is also intoxicated with the butcher who pursues her, disgusted with her and tends to kill people. His scene arrangement contrasts with his ex-husband's violent content. Jean Labille, a photographer who often works with him, often helps him to create bright colors in spring (unfaithful women) and idyllic sunshine (butchers), which makes people even more breathless under the illusion of order. The middle-class patriarchy, which is timid but easy to use violence, is the stereotyped role in his series of works. This kind of works also shows his interest in female roles, his preference and turning point in women's hearts, which are the objects of claude chabrol's careful study.

In the 1970s, he deliberately gave up his middle-class background to film the violent guerrilla organization Nada in Latin America. In the 1970s, he separated from Audland, and then collaborated with the actress Isabel Huber to produce several costume dramas (Madame Bovary and Howl of the Owl) which returned to the traditional quality. However, these are not as attractive as his support for middle-class violence. Therefore, in the 1990s, claude chabrol returned to his famous thriller Betty and Hell, which suspected his wife's infidelity and used stalking and other violent means to express her jealousy. He has always been a prolific director with the most commercial flexibility and practical value in the new wave.