Landru
1963 Biography / Comedy / Drama   

 

Credits
  • Director: Claude Chabrol
  • Script: Françoise Sagan
  • Photo: Jean Rabier
  • Music: Pierre Jansen
  • Cast: Charles Denner (Landru), Michèle Morgan (Célestine), Danielle Darrieux (Berthe), Hildegard Knef (Mme X.), Juliette Mayniel (Anna), Stéphane Audran (Fernande), Catherine Rouvel (Andrée), Françoise Lugagne (Catherine), Mary Marquet (Mme Guillin), Denise Provence (Mme Laporte), Serge Bento (Maurice), Claude Mansard (Gafferi), Robert Burnier (Le président)
  • Country: France
  • Language: French
  • Runtime: 115 min
  • Aka: Bluebeard


 
Summary
During World War I, a seemingly respectable middle-aged man Henri Landru has devised an ingenious means of obtaining money to feed his large family.  Adopting various assumed names, he lures middle-class women to his villa at Gambais just outside Paris, where he kills them and burns their bodies.  He then helps himself to his victim’s bank accounts.  Having murdered 10 women and one boy, Landru is finally captured and placed before a court of law.  With an eloquent defence, he is optimistic that he will not be found guilty…

Review
One of Claude Chabrol’s most bizarre films, Landru is an extraordinary off-the-wall black comedy which allows the director to combine his flair for comedy and thriller to create something which is both original and surprisingly entertaining.

Compared with Chabrol’s conventional thrillers, the mood of this film is light, with some moments of delicious slapstick comedy (most notably Landru’s arrest).  In fact, you would hardly think that Landru had committed any crime at all, so banal is the way in which his lifestyle is portrayed.  What should be moments of horror are brilliantly transformed into comedy, something which has an unsettling effect on the audience.

The film is most memorable for a remarkable performance from Charles Denner who, barely recognisable under his make-up, plays the creepy Monsieur Landru, in fact almost too convincingly.  Denner’s Landru is as seductive and tender as he is frightening, making the casual way in which he disposes of his victims doubly disturbing.

Ultimately, it is the self-righteous and complacent bourgeois milieu in which the murderer lives, not the murderer himself, that is the real villain of the film – a theme which reveals itself in many of Chabrol’s films.

© James Travers 2000



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