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These are the user uploaded subtitles that are being translated: 1 00:00:32,158 --> 00:00:34,160 Mystery, murder... 2 00:00:34,828 --> 00:00:36,705 jealousy, vice... 3 00:00:37,914 --> 00:00:41,626 The venomous power of Henri-Georges Clouzot's films still grips us today. 4 00:00:41,751 --> 00:00:44,379 It was me I meant to kill! 5 00:00:44,504 --> 00:00:47,257 Me, not him! 6 00:00:48,049 --> 00:00:48,967 Mario! 7 00:00:49,634 --> 00:00:51,177 Mario says, "Screw you!" 8 00:00:53,972 --> 00:00:55,890 The Wages of Fear... 9 00:00:56,057 --> 00:00:57,851 Quai des Orfevres... 10 00:00:57,976 --> 00:00:59,310 Diabolique... 11 00:00:59,436 --> 00:01:01,730 Clouzot was a master of suspense 12 00:01:01,896 --> 00:01:06,067 who spun human neuroses into riveting entertainment. 13 00:01:09,487 --> 00:01:13,450 A media darling, he reigned at film festivals worldwide. 14 00:01:13,575 --> 00:01:15,577 Cannes, Berlin, and Venice 15 00:01:15,910 --> 00:01:17,996 awarded him their highest honors. 16 00:01:18,246 --> 00:01:21,916 Yet the filmmaker remains a mystery. 17 00:01:23,168 --> 00:01:27,338 With his wife's death and his involvement in WWII... 18 00:01:27,464 --> 00:01:30,925 a dark legend gathers around him. 19 00:01:31,092 --> 00:01:34,012 He's been called diabolical, uncontrollable. 20 00:01:34,679 --> 00:01:36,598 But was he really? 21 00:01:36,765 --> 00:01:40,560 Who is the real Henri-Georges Clouzot? 22 00:01:43,438 --> 00:01:49,527 THE CLOUZOT SCANDAL 23 00:01:52,781 --> 00:01:56,451 Clouzot was born in Niort in 1907... 24 00:01:57,452 --> 00:01:59,954 the eldest of three boys. 25 00:02:00,288 --> 00:02:04,918 Even as a child, drama fascinated my brother. 26 00:02:05,043 --> 00:02:07,921 He loved drama and fear. 27 00:02:08,046 --> 00:02:11,382 He'd constantly scare me and make me cry. 28 00:02:11,508 --> 00:02:13,718 CLOUZOT'S BROTHER 29 00:02:13,843 --> 00:02:16,971 He'd think, "It's working. My audience is crying." 30 00:02:17,430 --> 00:02:22,769 You said he wrote his first play at five years old? 31 00:02:22,894 --> 00:02:27,148 That's right. He dictated a puppet show... 32 00:02:28,817 --> 00:02:33,321 in which Punch laces his wife's bread with thumbtacks. 33 00:02:33,446 --> 00:02:36,574 That's the sort of ideas he had at five. 34 00:02:37,325 --> 00:02:40,620 Young Clouzot never witnessed a murder, 35 00:02:40,745 --> 00:02:43,206 but he lived through his parents' divorce 36 00:02:43,331 --> 00:02:46,167 after the bankruptcy of the family bookstore. 37 00:02:47,001 --> 00:02:49,712 "You and Dad never really got along," 38 00:02:49,838 --> 00:02:52,215 he wrote to his mother later. 39 00:02:52,340 --> 00:02:55,677 "If you'd lived together a few years before marrying, 40 00:02:55,802 --> 00:02:58,137 I probably wouldn't exist - 41 00:02:58,263 --> 00:03:00,849 a great loss for the dramatic arts." 42 00:03:02,392 --> 00:03:05,103 Deeply affected by his father's decline 43 00:03:05,228 --> 00:03:09,399 and the depression of his mother, who turns to him for affection, 44 00:03:09,899 --> 00:03:14,404 Clouzot has no choice but to try to make it on his own. 45 00:03:14,863 --> 00:03:17,490 Attracted to the bright lights of the capital, 46 00:03:17,615 --> 00:03:20,785 he's quickly drawn to show business. 47 00:03:21,035 --> 00:03:24,372 He makes a name for himself as a music-hall lyricist 48 00:03:24,497 --> 00:03:26,624 and then a screenwriter. 49 00:03:26,749 --> 00:03:28,918 BARGEKEEPER'S DAUGHTER A SMASH HIT 50 00:03:29,043 --> 00:03:32,589 In writing he finally finds an outlet for his anxiety. 51 00:03:32,714 --> 00:03:36,467 In his 20s he had such terrible nightmares 52 00:03:36,593 --> 00:03:39,387 that he made himself stay awake. 53 00:03:39,679 --> 00:03:42,056 FRIEND AND ASSOCIATE 54 00:03:42,181 --> 00:03:47,562 He became a terrible insomniac. He couldn't sleep without pills. 55 00:03:48,271 --> 00:03:51,065 So he went to see a psychoanalyst. 56 00:03:51,190 --> 00:03:55,194 "Please help me. I can't take any more." 57 00:03:55,320 --> 00:03:58,406 After five minutes, the psychoanalyst said... 58 00:03:58,573 --> 00:04:02,535 "Continuing psychoanalysis is too risky for you. 59 00:04:02,660 --> 00:04:06,873 If I rid you of all these things that haunt you, 60 00:04:06,998 --> 00:04:10,043 I'll take away your imagination too." 61 00:04:10,168 --> 00:04:12,253 So I thanked him and left. 62 00:04:16,007 --> 00:04:18,885 - Are you ill? - They killed him! I'm sure of it! 63 00:04:19,010 --> 00:04:23,389 Mr. Durand, the faceless killer. THE MURDERER LIVES AT NUMBER 21 64 00:04:23,514 --> 00:04:25,433 Four murders in one month, all in the neighborhood. 65 00:04:25,600 --> 00:04:27,060 So they say! 66 00:04:27,185 --> 00:04:30,521 I think the journalists make it up to sell more papers. 67 00:04:30,730 --> 00:04:33,650 His first feature, The Murderer Lives at Number 21, 68 00:04:33,775 --> 00:04:36,110 already reveals a master of the genre... 69 00:04:36,903 --> 00:04:40,114 with its striking images and snappy dialogue. 70 00:04:40,907 --> 00:04:43,117 Clouzot's sure hand is impressive. 71 00:04:45,244 --> 00:04:49,624 But this fear of the world comes from firsthand experience, 72 00:04:49,749 --> 00:04:52,001 what he lived in the flesh. 73 00:04:53,461 --> 00:04:56,631 An interesting period in Clouzot's life FILMMAKER 74 00:04:56,798 --> 00:04:59,008 was when he was very ill 75 00:04:59,133 --> 00:05:01,135 with pleurisy. 76 00:05:01,260 --> 00:05:05,974 He was bedridden for four years - a long time for a young man. 77 00:05:06,099 --> 00:05:09,894 He said it left "a taste of death" in his mouth. 78 00:05:12,355 --> 00:05:15,191 Leysin Sanatorium. 79 00:05:15,316 --> 00:05:17,944 October 17, 1934. 80 00:05:18,069 --> 00:05:20,113 Clouzot is 26. 81 00:05:20,238 --> 00:05:23,449 "I've been in the sanatorium since yesterday. 82 00:05:23,574 --> 00:05:27,161 A flurry of invisible flakes fills my clear lung 83 00:05:27,286 --> 00:05:29,497 and hinders my breathing." 84 00:05:31,833 --> 00:05:33,793 I thought I was dying. 85 00:05:37,964 --> 00:05:42,760 "How can I have peace of mind when I might not survive the week? 86 00:05:43,011 --> 00:05:45,013 In a few hours I'll be 27, 87 00:05:45,138 --> 00:05:48,182 though I can't even be sure I'll live that long. 88 00:05:48,349 --> 00:05:51,060 My life isn't in immediate danger, 89 00:05:51,185 --> 00:05:53,771 but there's never any guarantee. 90 00:05:53,896 --> 00:05:58,192 The environment of uncertainty mirrors our deep, inner uncertainty." 91 00:06:04,032 --> 00:06:08,202 THE LAST ONE OF THE SIX 92 00:06:22,425 --> 00:06:25,136 You see that in his films. 93 00:06:25,470 --> 00:06:27,513 His films are haunted... 94 00:06:28,389 --> 00:06:30,349 by the fear of death, 95 00:06:30,475 --> 00:06:32,185 by dark forces. 96 00:06:32,310 --> 00:06:35,563 This period is also important, 97 00:06:35,897 --> 00:06:39,025 because for those who've been sick 98 00:06:39,150 --> 00:06:41,736 or who've been around the sick, 99 00:06:41,903 --> 00:06:44,238 it's a terrifying experience 100 00:06:44,405 --> 00:06:46,449 to realize your own body 101 00:06:46,574 --> 00:06:49,494 is beyond your control. 102 00:06:50,244 --> 00:06:54,707 I think an important theme in Clouzot's work 103 00:06:54,832 --> 00:06:57,502 is the loss of bodily control. 104 00:06:57,627 --> 00:07:02,006 In his staging and framing you sense a desire for control, 105 00:07:02,256 --> 00:07:06,427 yet he often shows characters spiraling out of control. 106 00:07:06,761 --> 00:07:09,222 His first film takes place 107 00:07:09,347 --> 00:07:12,016 not in a sanatorium but in a boarding house 108 00:07:12,141 --> 00:07:14,560 where a group of people live as shut-ins. 109 00:07:14,685 --> 00:07:17,939 That's where the murderer lives, at number 21. 110 00:07:18,231 --> 00:07:22,777 It's a basic crime thriller about finding a murderer. 111 00:07:23,277 --> 00:07:27,281 But behind the comic characters and seemingly lighthearted tone... 112 00:07:28,324 --> 00:07:32,120 Clouzot presents an outside world haunted by predators. 113 00:07:33,246 --> 00:07:36,457 A sense of menace fills the air, because out there... 114 00:07:36,791 --> 00:07:38,835 someone's killing people. 115 00:07:38,960 --> 00:07:41,295 There are times when the pressure 116 00:07:41,462 --> 00:07:44,132 of external events is such 117 00:07:44,257 --> 00:07:47,343 that individual moral concerns 118 00:07:47,468 --> 00:07:50,138 are forced to take a back seat 119 00:07:50,263 --> 00:07:53,015 to those thrust upon us by the real world. 120 00:07:53,141 --> 00:07:57,145 My first brush with the world of terror was the world itself. 121 00:07:57,478 --> 00:08:00,982 It's certainly provided plenty recently! 122 00:08:10,366 --> 00:08:12,410 The Murderer Lives at Number 21 123 00:08:12,535 --> 00:08:15,163 was shot in 1942 during the German Occupation. 124 00:08:15,288 --> 00:08:19,208 To the violence of war and economic and political subjugation, 125 00:08:19,333 --> 00:08:23,296 Nazi Germany sought to add cultural domination. 126 00:08:23,421 --> 00:08:25,631 When the Germans arrived in France, 127 00:08:25,756 --> 00:08:30,094 they wanted to show the world they weren't barbarians. WRITER 128 00:08:30,219 --> 00:08:32,638 To this end they got 129 00:08:32,763 --> 00:08:34,891 the film industry running again 130 00:08:35,016 --> 00:08:38,895 and reopened publishing houses and theaters. 131 00:08:39,020 --> 00:08:41,856 The occupying forces created Continental Films 132 00:08:41,981 --> 00:08:44,692 and named as its director a long-standing Nazi, 133 00:08:44,817 --> 00:08:46,360 producer Alfred Greven. 134 00:08:49,697 --> 00:08:52,325 Greven wooed film stars by claiming 135 00:08:52,450 --> 00:08:54,702 he didn't want to make propaganda films. 136 00:08:56,495 --> 00:08:58,998 But could he be believed? 137 00:08:59,123 --> 00:09:02,877 I can't remember the exact date I was summoned, 138 00:09:03,044 --> 00:09:06,088 but it was at the very end of 1940. 139 00:09:06,756 --> 00:09:10,968 I was asked if I'd work on a script 140 00:09:11,135 --> 00:09:13,471 for a detective film. 141 00:09:13,596 --> 00:09:16,891 Clouzot had a budding reputation as a screenwriter, 142 00:09:17,058 --> 00:09:21,020 and he was familiar with German cinema from having supervised 143 00:09:21,145 --> 00:09:25,483 the French versions of German films shot in Berlin before the war. 144 00:09:25,608 --> 00:09:28,736 Probably thinking Clouzot was ambitious enough 145 00:09:28,861 --> 00:09:32,240 to be politically harmless, Greven hired him. 146 00:09:32,365 --> 00:09:34,408 Greven then told me... 147 00:09:35,618 --> 00:09:40,248 "Your script is much better than others I've read recently. 148 00:09:40,373 --> 00:09:45,586 I'd like you to head up screenwriting at Continental Films." 149 00:09:45,920 --> 00:09:48,005 At just 33... 150 00:09:48,130 --> 00:09:50,841 under particularly dramatic circumstances, 151 00:09:50,967 --> 00:09:55,596 Clouzot becomes one of the most powerful men in the French film industry. 152 00:09:57,640 --> 00:10:00,101 Goebbels's orders are clear: 153 00:10:00,268 --> 00:10:03,896 only lighthearted, superficial films. 154 00:10:05,106 --> 00:10:08,693 But Clouzot is not the type to follow anyone's orders. 155 00:10:08,818 --> 00:10:13,072 Now that he has power, he intends to use it. 156 00:10:13,197 --> 00:10:17,618 Greven gave me the okay to make The Murderer Lives at Number 21, 157 00:10:17,743 --> 00:10:19,954 and right after that, Le Corbeau. 158 00:10:20,288 --> 00:10:23,582 Le Corbeau is the first film where I did what I wanted. 159 00:10:23,708 --> 00:10:26,043 - I'm accused of being your mistress. - By whom? 160 00:10:26,210 --> 00:10:28,963 I received a poison-pen letter. 161 00:10:29,088 --> 00:10:32,758 - I got another poison-pen letter. - Again? 162 00:10:32,883 --> 00:10:36,053 We have an epidemic on our hands, and it's spreading daily. 163 00:10:36,178 --> 00:10:39,974 Louis Chavance's script, L'Oeil du serpent, 164 00:10:40,182 --> 00:10:43,811 was obviously based on the Tulle affair. 165 00:10:43,936 --> 00:10:46,856 You can't tell how far this filth will go. 166 00:10:46,981 --> 00:10:49,483 The whole town may be infected. 167 00:10:50,067 --> 00:10:53,612 A series of poison-pen letters plunges a small town 168 00:10:53,738 --> 00:10:57,491 into a toxic climate of suspicion and rumors. 169 00:10:59,910 --> 00:11:04,290 It's a portrait of small-town life that's also a thriller. 170 00:11:23,684 --> 00:11:26,979 Let's be honest: It's a godsend for any director! 171 00:11:27,104 --> 00:11:29,690 We're delighted to find stories like that. 172 00:11:29,857 --> 00:11:33,152 It's based on a news item from the 1920s 173 00:11:33,277 --> 00:11:35,863 that is completely apolitical. 174 00:11:36,030 --> 00:11:38,449 The story he tells is apolitical. 175 00:11:39,241 --> 00:11:42,828 Yet at the same time, it's extremely politically charged, 176 00:11:42,953 --> 00:11:45,539 and even morally charged. 177 00:11:46,123 --> 00:11:48,667 It's a bit blasphemous, 178 00:11:48,793 --> 00:11:53,506 with the priests droning on and on, 179 00:11:53,631 --> 00:11:56,217 and the Republican "religion" represented by the prefect, 180 00:11:56,384 --> 00:11:59,720 making a ridiculous speech in which he explains, as usual, 181 00:11:59,845 --> 00:12:03,349 that the guilty will be punished FILMMAKER 182 00:12:03,474 --> 00:12:05,893 and law and righteousness will prevail. 183 00:12:06,394 --> 00:12:10,064 Unhappy victim of a nameless murderer, 184 00:12:10,189 --> 00:12:12,400 you shall be avenged! 185 00:12:12,566 --> 00:12:15,486 - She's the Raven! - It's not true! 186 00:12:15,694 --> 00:12:17,071 You put the letter in the wreath! 187 00:12:20,991 --> 00:12:23,119 It's uncompromising. 188 00:12:23,244 --> 00:12:29,834 And the fact it was made during the Occupation... 189 00:12:30,501 --> 00:12:32,420 is quite significant. 190 00:12:32,545 --> 00:12:34,880 Give us Marie Corbin first! 191 00:12:35,005 --> 00:12:38,342 She came to work this morning. We dismissed her. 192 00:12:40,094 --> 00:12:43,222 The story suited Clouzot's personality 193 00:12:43,347 --> 00:12:46,058 and his penchant for taking risks. 194 00:12:46,183 --> 00:12:49,103 We must give the impression we're taking action. 195 00:12:49,228 --> 00:12:52,690 He has a slightly anarchistic, rebellious, 196 00:12:53,023 --> 00:12:55,943 provocative, and sometimes cynical way 197 00:12:56,819 --> 00:13:00,114 of lashing out at everything. 198 00:13:00,239 --> 00:13:02,658 No one is spared. 199 00:13:02,783 --> 00:13:07,496 Yet at the same time, he's working for Continental Films. 200 00:13:08,747 --> 00:13:12,042 So I think it showed 201 00:13:12,168 --> 00:13:17,298 a powerful independent streak in him. 202 00:13:17,548 --> 00:13:21,135 Even working for the Germans, he manages to do what he wants. 203 00:13:21,469 --> 00:13:24,305 I find that quite remarkable. 204 00:13:24,430 --> 00:13:28,434 If you don't want to shock anyone, don't be a director. 205 00:13:28,559 --> 00:13:31,103 It's what films do... FILMMAKER 206 00:13:31,228 --> 00:13:33,814 with every image, every scene. 207 00:13:34,356 --> 00:13:38,402 Cinema is always on the attack to some extent. 208 00:13:38,527 --> 00:13:42,114 But great filmmakers are usually aggressive types. 209 00:13:42,239 --> 00:13:44,283 They're on the attack. 210 00:13:44,408 --> 00:13:47,661 In Clouzot's presence you sensed a certain danger. 211 00:13:47,828 --> 00:13:49,914 He was a dangerous man. 212 00:13:51,999 --> 00:13:54,543 The Occupation gave rise to heroes, 213 00:13:54,668 --> 00:13:58,756 but it also revealed the darkest, most cowardly aspects of human nature. 214 00:13:59,006 --> 00:14:00,841 In Marshal Petain's France, 215 00:14:00,966 --> 00:14:03,469 people were rounded up, tortured, and executed, 216 00:14:03,594 --> 00:14:06,013 often based solely on anonymous letters, 217 00:14:06,180 --> 00:14:08,641 avidly encouraged by the occupying forces. 218 00:14:08,766 --> 00:14:10,768 Your evidence is invaluable. 219 00:14:10,893 --> 00:14:16,315 Write to: Jews Against France, 116, Avenue Champs-Elysees, Paris. 220 00:14:16,440 --> 00:14:18,526 After Liberation... 221 00:14:18,651 --> 00:14:22,696 they found thousands of denunciatory letters 222 00:14:22,863 --> 00:14:25,783 yet to be processed by the Germans. 223 00:14:25,908 --> 00:14:28,369 They'd been overwhelmed by the sheer volume 224 00:14:28,536 --> 00:14:30,538 during four years of Occupation. 225 00:14:31,038 --> 00:14:33,707 They later admitted that there were so many 226 00:14:33,874 --> 00:14:36,252 that they couldn't process them all. 227 00:14:36,377 --> 00:14:40,005 YOU ARE OUR LAST HOPE SOON THE JEWS WILL RULE US 228 00:14:40,130 --> 00:14:44,176 Your denouncer might be a neighbor with a bone to pick, 229 00:14:44,301 --> 00:14:47,596 or someone who has an eye on your shop. 230 00:14:47,721 --> 00:14:50,891 But women would also often denounce their husbands 231 00:14:51,016 --> 00:14:53,227 to get rid of them. 232 00:14:53,352 --> 00:14:55,604 It couldn't be more sordid. 233 00:14:55,729 --> 00:14:59,733 - Do we keep delivering them? - Unless we have orders not to. 234 00:14:59,858 --> 00:15:01,569 We're accessories! 235 00:15:01,860 --> 00:15:04,863 It was very well-received. 236 00:15:04,989 --> 00:15:07,700 The press was almost unanimous. 237 00:15:07,825 --> 00:15:11,745 It's the only time in my life I got good reviews. 238 00:15:11,870 --> 00:15:15,583 Then, as you know, Mr. Greven fired me. 239 00:15:16,458 --> 00:15:19,837 I was fired because the Kommandantur complained 240 00:15:19,962 --> 00:15:23,507 that the film discouraged anonymous denunciations. 241 00:15:23,632 --> 00:15:26,051 This was at the end of 1941, 242 00:15:26,176 --> 00:15:28,721 when informers were really useful. 243 00:15:28,846 --> 00:15:31,724 So I was abruptly fired. 244 00:15:31,849 --> 00:15:35,060 Almost immediately, Radio London issued my death sentence. 245 00:15:35,185 --> 00:15:37,980 But the tide abruptly turns. Everyone's against him. 246 00:15:38,105 --> 00:15:40,774 He's attacked from every side. 247 00:15:40,941 --> 00:15:44,612 In a way, it's reassuring to have everyone against you, 248 00:15:44,737 --> 00:15:47,114 but it creates real problems for him too. 249 00:15:47,239 --> 00:15:50,909 Vichy attacks him, as do Catholic circles, 250 00:15:51,035 --> 00:15:53,912 who declare the film immoral. 251 00:15:54,038 --> 00:15:56,582 Even the Resistance and the Communists attack him. 252 00:15:56,707 --> 00:15:59,501 The famous article by Georges Sadoul 253 00:15:59,627 --> 00:16:04,048 compares the film to Mein Kampf, which is a bit absurd. 254 00:16:04,548 --> 00:16:07,760 And after Liberation, he's attacked yet again. 255 00:16:07,885 --> 00:16:11,221 The film was banned after Liberation, 256 00:16:11,347 --> 00:16:16,268 supposedly because it showed the Occupation and occupiers 257 00:16:16,393 --> 00:16:18,479 in a favorable light. 258 00:16:18,646 --> 00:16:21,690 I don't see how, but it was clearly political, 259 00:16:21,815 --> 00:16:25,110 a way to sideline Clouzot for the horrendous offense 260 00:16:25,235 --> 00:16:27,988 of collaborating with Continental Films. 261 00:16:28,155 --> 00:16:30,824 HITLER'S EAGLE IN A RAVEN'S PLUMAGE 262 00:16:30,949 --> 00:16:33,327 It's difficult today to distinguish 263 00:16:33,494 --> 00:16:37,790 between the often clumsy sincerity of the attacks 264 00:16:37,915 --> 00:16:41,335 and the guilt felt by many French people at the time 265 00:16:41,460 --> 00:16:45,798 that made them conveniently forget their own cowardice, 266 00:16:45,923 --> 00:16:48,133 imposed in part 267 00:16:48,258 --> 00:16:51,178 by the difficult conditions during the Occupation. 268 00:16:51,303 --> 00:16:54,807 They overcompensated by showing no mercy 269 00:16:54,932 --> 00:16:57,518 to those charged as collaborators. 270 00:16:58,102 --> 00:17:02,356 I have no right to judge those people. 271 00:17:02,523 --> 00:17:04,525 They suffered terribly. 272 00:17:04,858 --> 00:17:07,486 I don't think... 273 00:17:08,696 --> 00:17:12,658 that courage and honesty are so widespread today 274 00:17:12,783 --> 00:17:17,496 that we have the right to pass judgment 275 00:17:17,996 --> 00:17:20,666 or criticize what happened back then. 276 00:17:21,166 --> 00:17:23,127 "I felt unjustly attacked, 277 00:17:23,252 --> 00:17:27,297 but such horrors had been committed that I couldn't indulge in self-pity. 278 00:17:27,423 --> 00:17:29,425 I got off lightly." 279 00:17:29,883 --> 00:17:32,636 The film is banned by military censors. 280 00:17:32,761 --> 00:17:36,890 Clouzot is banned from directing for two years. 281 00:17:37,015 --> 00:17:41,979 It wasn't until Max Ophuls's The Sorrow and the Pity in 1971 282 00:17:42,104 --> 00:17:45,274 that France finally agrees to face its history head-on. 283 00:17:45,399 --> 00:17:48,736 Clouzot is ahead of his time. Too far ahead. 284 00:17:49,236 --> 00:17:53,198 The artist in him makes him reject a comfortable stance. 285 00:17:53,323 --> 00:17:55,743 In his subject matter 286 00:17:55,909 --> 00:18:00,164 he's always stepping outside his comfort zone, 287 00:18:00,372 --> 00:18:02,374 testing moral boundaries. 288 00:18:02,499 --> 00:18:04,084 You're amazing. 289 00:18:04,209 --> 00:18:06,879 You think people are all good or all bad. 290 00:18:07,004 --> 00:18:09,715 That Good is light 291 00:18:09,840 --> 00:18:12,050 and Evil is dark. 292 00:18:12,217 --> 00:18:15,095 But where does each begin? 293 00:18:15,262 --> 00:18:16,930 Where does evil end? 294 00:18:17,097 --> 00:18:20,142 Are you on the good side or the bad side? 295 00:18:20,267 --> 00:18:24,938 It's clear we all carry corruption in our hearts. 296 00:18:25,606 --> 00:18:28,901 We'd just usually rather not know about it. 297 00:18:29,026 --> 00:18:31,028 We close our eyes 298 00:18:31,153 --> 00:18:33,906 and bury it so deep in our subconscious 299 00:18:34,031 --> 00:18:37,785 that we convince ourselves we're pure. We're not. 300 00:18:38,786 --> 00:18:40,954 "The Gospels always bothered me, 301 00:18:41,079 --> 00:18:44,458 because they had no answer to the problem of evil. 302 00:18:44,625 --> 00:18:49,296 Of all mysteries, that of evil seemed to me the deepest." 303 00:18:49,463 --> 00:18:52,633 Are you an optimist or a pessimist? 304 00:18:52,800 --> 00:18:56,595 People call me a pessimist, which is wrong. 305 00:18:56,720 --> 00:19:01,266 If I weren't an optimist, I wouldn't try to improve people with my films. 306 00:19:01,391 --> 00:19:04,645 A pessimist? Yes. But is that a fault? 307 00:19:05,312 --> 00:19:09,817 After all, humanity has a very dark side. 308 00:19:10,651 --> 00:19:13,278 I'd call it a fertile pessimism, 309 00:19:13,654 --> 00:19:17,658 for it makes us ponder what human nature truly is. 310 00:19:17,783 --> 00:19:22,162 It helps us take off our blinders and not be fooled by events. 311 00:19:23,872 --> 00:19:25,958 But beneath his apparent self-confidence... 312 00:19:26,667 --> 00:19:30,921 the pessimism Clouzot is accused of is turned mainly against himself. 313 00:19:32,297 --> 00:19:34,925 A new attempt at keeping a journal: 314 00:19:35,050 --> 00:19:37,511 "What matters isn't to fight one's adversaries 315 00:19:37,636 --> 00:19:39,972 but one's own weaknesses." 316 00:19:40,097 --> 00:19:43,350 I never rewatch my films. It's too agonizing. 317 00:19:43,475 --> 00:19:47,020 "I'm an idiot! I should have done this or that... 318 00:19:47,187 --> 00:19:49,898 anything but what I did." 319 00:19:50,023 --> 00:19:53,694 But that's utterly pointless. It's over and done with. 320 00:19:53,861 --> 00:19:57,531 Better to make a new film and forget the old one. 321 00:19:57,865 --> 00:20:00,534 "Why this constant doubt?" 322 00:20:00,993 --> 00:20:03,328 "This need to express myself fully... 323 00:20:03,453 --> 00:20:06,707 and the certainty that I never will." 324 00:20:07,082 --> 00:20:09,877 "Nevertheless, I quickly returned to work. 325 00:20:10,419 --> 00:20:13,547 But my professional success hardly mattered to me. 326 00:20:13,714 --> 00:20:16,091 I felt just as discouraged when it was released." 327 00:20:16,216 --> 00:20:18,510 He was a perfectionist. 328 00:20:18,635 --> 00:20:23,724 And since perfection is unachievable, you're always dissatisfied. 329 00:20:24,016 --> 00:20:27,603 He was jealous, dissatisfied. 330 00:20:27,728 --> 00:20:31,148 But he was fine with that. No one forced it on him. 331 00:20:31,273 --> 00:20:33,400 He relished it. 332 00:20:33,567 --> 00:20:36,236 He relished both his flaws and his strengths. 333 00:20:36,403 --> 00:20:39,364 He cultivated them. They were what drove him. 334 00:20:39,489 --> 00:20:43,118 He constantly doubted his work. SET DESIGNER 335 00:20:43,243 --> 00:20:46,079 "You think it's any good? I don't know... 336 00:20:46,914 --> 00:20:50,083 Let's rehearse it." So we'd rehearse. 337 00:20:50,959 --> 00:20:54,880 We'd try different staging. We'd play around. 338 00:20:55,005 --> 00:20:58,634 Suzy Delair was living with him at the time. 339 00:20:58,759 --> 00:21:03,764 He'd call her and say, "Come over. We're rehearsing. 340 00:21:05,599 --> 00:21:08,602 No, I need you now. Get dressed. 341 00:21:08,810 --> 00:21:11,021 I don't care. Skip your appointment." 342 00:21:11,688 --> 00:21:14,066 She lived down in Seville 343 00:21:14,358 --> 00:21:16,944 And from square to villa 344 00:21:17,277 --> 00:21:19,947 She had the greatest skill 345 00:21:20,280 --> 00:21:22,908 Of all the gypsy girls there 346 00:21:23,533 --> 00:21:26,119 Others had lovelier faces CLOUZOT'S COMPANION 347 00:21:26,244 --> 00:21:28,705 But she put them in their places 348 00:21:28,830 --> 00:21:31,750 Her gift wasn't commonplace 349 00:21:32,209 --> 00:21:34,127 There was nothing to compare 350 00:21:34,294 --> 00:21:37,881 When he was interested, it was with a passion. 351 00:21:38,006 --> 00:21:40,676 He was only interested in people 352 00:21:40,801 --> 00:21:43,553 who'd become part of his work. 353 00:21:43,679 --> 00:21:47,140 I've almost always mixed 354 00:21:47,265 --> 00:21:51,019 my professional and private lives, 355 00:21:51,144 --> 00:21:54,648 either by copying characters from real life 356 00:21:55,023 --> 00:21:57,985 or by using emotions I had felt 357 00:21:58,110 --> 00:22:01,321 or that others had felt toward me, 358 00:22:01,446 --> 00:22:03,615 often reversing those two. 359 00:22:03,824 --> 00:22:07,160 And I also included my romantic partners in my work. 360 00:22:07,285 --> 00:22:11,123 He was a vampire. 361 00:22:11,248 --> 00:22:14,001 He had an unerring instinct for finding people 362 00:22:14,167 --> 00:22:16,837 who might interest him, 363 00:22:16,962 --> 00:22:22,092 who'd fuel his creative fire... 364 00:22:22,217 --> 00:22:25,178 or his personal hell. 365 00:22:25,303 --> 00:22:27,431 I won't be your pawn 366 00:22:27,556 --> 00:22:30,934 So with her tra-la-la Her petite tra-la-la 367 00:22:31,059 --> 00:22:33,562 She set out to capture her prey 368 00:22:33,687 --> 00:22:36,690 With one quick tra-la-la She went tra-la-la 369 00:22:36,857 --> 00:22:39,901 And Pedro's defenses gave way 370 00:22:40,027 --> 00:22:41,945 I met Suzy Delair 371 00:22:42,070 --> 00:22:45,365 when she was in a show before the war. 372 00:22:45,866 --> 00:22:49,536 I'd written a few songs for her. I got my start writing songs. 373 00:22:49,661 --> 00:22:52,372 I wrote for Marianne Oswald and for Gilles and Julien. 374 00:22:52,497 --> 00:22:55,375 - And she sang? - I sang. 375 00:22:56,376 --> 00:22:59,629 Henri-Georges made wonderful use of Suzy... 376 00:22:59,755 --> 00:23:02,299 her insolence... 377 00:23:02,424 --> 00:23:04,551 her way of being. 378 00:23:05,761 --> 00:23:07,721 That's how Suzy really was. 379 00:23:09,222 --> 00:23:12,684 I was lucky to have met Clouzot. VOICE OF SUZY DELAIR 380 00:23:12,809 --> 00:23:16,563 He gave me advice and paved my way. 381 00:23:17,230 --> 00:23:19,316 He told me, "Don't try to be different. 382 00:23:19,691 --> 00:23:23,028 Don't imitate a certain type or have a 'gimmick.' 383 00:23:23,153 --> 00:23:24,905 Be yourself." 384 00:23:25,072 --> 00:23:29,034 Stage fright makes me sweat buckets. My undies are soaked. 385 00:23:29,159 --> 00:23:31,328 - Let's see. - The shock would kill you. 386 00:23:31,453 --> 00:23:34,664 He had one shortcoming or flaw, 387 00:23:34,790 --> 00:23:38,293 an especially cruel one for an artist: 388 00:23:38,418 --> 00:23:41,254 He lacked imagination. 389 00:23:41,880 --> 00:23:44,132 He always surrounded himself 390 00:23:44,257 --> 00:23:47,177 with screenwriters and co-authors. 391 00:23:47,302 --> 00:23:49,930 On his own, he was crippled. 392 00:23:50,055 --> 00:23:53,350 He couldn't work on his own. 393 00:23:53,475 --> 00:23:57,562 He needed a constant supply of ideas. 394 00:23:59,272 --> 00:24:02,776 It was his only shortcoming. 395 00:24:03,485 --> 00:24:05,529 Was he aware of it? 396 00:24:05,779 --> 00:24:09,491 Painfully so! It was a source of anxiety. 397 00:24:09,616 --> 00:24:12,452 Like an addict who needs his dose, 398 00:24:12,577 --> 00:24:15,580 he was dependent on the ideas of others. 399 00:24:15,705 --> 00:24:18,291 Did you inspire some of his dialogue? 400 00:24:18,416 --> 00:24:19,960 Yes, often. 401 00:24:20,085 --> 00:24:21,628 - Often? - Very often. 402 00:24:21,920 --> 00:24:24,381 If he were poor, he'd have been in jail long ago. 403 00:24:24,506 --> 00:24:27,008 He'd ask how I'd reply, and I'd tell him. 404 00:24:27,134 --> 00:24:28,468 There you go! 405 00:24:28,635 --> 00:24:30,512 The capitalists! The big fortunes! 406 00:24:30,637 --> 00:24:31,763 - Can we go? - Go ahead. 407 00:24:31,888 --> 00:24:35,892 He'd write it down. "That works. Great." 408 00:24:36,226 --> 00:24:38,311 You're jealous of the rich. 409 00:24:38,478 --> 00:24:42,190 Well, I want my share of their dough. I'm all for royalty. 410 00:24:42,315 --> 00:24:44,317 Your dad was a laborer. 411 00:24:44,442 --> 00:24:47,737 So what? Under Louis XV, I'd have been Madame de Pompadour. 412 00:24:47,863 --> 00:24:50,157 I'd have heated up their tights! 413 00:24:50,282 --> 00:24:51,950 You're being despicable. 414 00:24:52,075 --> 00:24:55,871 I always insisted that she keep her vaudeville style. 415 00:24:55,996 --> 00:25:00,000 Very few women have her gift for comedy. 416 00:25:03,503 --> 00:25:06,298 In her last film with Clouzot, 417 00:25:06,423 --> 00:25:10,177 Suzy Delair reprises her role of impetuous wife. 418 00:25:10,302 --> 00:25:12,888 Her ambition and her husband's jealousy 419 00:25:13,013 --> 00:25:16,016 make them both prime suspects in a murder. 420 00:25:17,642 --> 00:25:19,144 It's a film noir. 421 00:25:19,269 --> 00:25:21,313 It takes place in cabarets. 422 00:25:21,438 --> 00:25:23,190 There's music, rhythm. 423 00:25:23,982 --> 00:25:26,610 It bears comparison 424 00:25:27,068 --> 00:25:30,197 to great American films. 425 00:25:30,363 --> 00:25:34,117 You might compare it to Some Like It Hot, for example. 426 00:25:34,242 --> 00:25:37,162 But this film is just as good, if not better, 427 00:25:37,537 --> 00:25:40,207 because it has a realistic element. 428 00:25:40,373 --> 00:25:42,250 There's a real crime... 429 00:25:42,375 --> 00:25:44,002 real murders... 430 00:25:44,127 --> 00:25:46,671 real cops and interrogations... 431 00:25:46,796 --> 00:25:49,674 clouds of cigarette smoke at police headquarters... 432 00:25:49,799 --> 00:25:51,927 the stench of stale cigarette butts. 433 00:25:52,052 --> 00:25:54,221 It's a curious thing. 434 00:25:54,346 --> 00:25:57,140 I think that before I came along, 435 00:25:57,349 --> 00:26:01,019 no French filmmaker making crime thrillers 436 00:26:01,144 --> 00:26:03,939 had ever set foot in police headquarters. 437 00:26:04,064 --> 00:26:06,483 I spent four months there. 438 00:26:06,608 --> 00:26:09,110 Every shot is accurate. 439 00:26:09,236 --> 00:26:13,448 If you want to learn how to fit lots of characters 440 00:26:13,573 --> 00:26:15,492 into an interior shot, 441 00:26:15,617 --> 00:26:19,496 Quai des Orfevres is the film to watch. FILMMAKER 442 00:26:19,621 --> 00:26:21,915 All the interrogation scenes 443 00:26:22,040 --> 00:26:25,877 contain six or seven characters. 444 00:26:26,002 --> 00:26:29,547 You wonder how he fit them all in. 445 00:26:30,548 --> 00:26:32,801 Quiet, for chrissake! 446 00:26:32,926 --> 00:26:35,220 You left the Eden and went to the Villa St-Marceaux. 447 00:26:35,345 --> 00:26:37,847 Don't be thick. You know we'll get you. 448 00:26:37,973 --> 00:26:39,557 Say yes and we'll call it a night. 449 00:26:39,683 --> 00:26:43,186 It's very realistic. In fact, you could say... 450 00:26:43,311 --> 00:26:46,147 his films are part documentary. 451 00:26:46,273 --> 00:26:48,775 You'll get this when you tell us you were there. 452 00:26:48,942 --> 00:26:52,654 But I wasn't there! Get off my back! I've had enough! 453 00:26:54,197 --> 00:26:57,617 Yet its realism is transcended 454 00:26:57,742 --> 00:26:59,786 by a style of direction 455 00:26:59,911 --> 00:27:02,914 that often leans toward abstraction. 456 00:27:06,376 --> 00:27:08,628 I think I'll have me a cig. 457 00:27:11,089 --> 00:27:15,343 Some shots owe a lot to Clouzot's time in Germany, 458 00:27:15,468 --> 00:27:19,431 where he worked before the war, 459 00:27:19,556 --> 00:27:21,641 and to his vision of German Expressionism. 460 00:27:22,350 --> 00:27:23,768 That's for sure. 461 00:27:23,893 --> 00:27:26,271 You see it in the lighting 462 00:27:26,396 --> 00:27:28,440 and in his deep faith 463 00:27:29,149 --> 00:27:32,235 in the expressive force 464 00:27:32,360 --> 00:27:35,905 of lighting angles and framing. 465 00:27:36,072 --> 00:27:39,451 You sense the strong influence of Fritz Lang and Murnau. 466 00:27:39,576 --> 00:27:42,329 He often spoke of them. 467 00:28:12,817 --> 00:28:17,405 I think his films were almost always working 468 00:28:17,530 --> 00:28:20,450 to redeem the discredited. CLOUZOT'S BROTHER 469 00:28:23,578 --> 00:28:26,790 Jouvet said to me once... 470 00:28:26,915 --> 00:28:29,876 "That guy's like a character out of Dickens." 471 00:28:30,001 --> 00:28:33,463 I think that's the best description of Clouzot's work. 472 00:28:33,588 --> 00:28:35,548 Especially in Quai des Orfevres, 473 00:28:35,715 --> 00:28:38,426 there was a truthfulness 474 00:28:38,676 --> 00:28:42,055 and a populist aspect, 475 00:28:42,180 --> 00:28:44,265 in the positive sense, 476 00:28:44,391 --> 00:28:48,186 that you only find in certain great novels. 477 00:28:48,311 --> 00:28:50,730 Clouzot is fantastic CARTOONIST 478 00:28:50,855 --> 00:28:53,233 at showing how people really live: 479 00:28:53,441 --> 00:28:55,652 the concierge's lodge, 480 00:28:55,777 --> 00:28:58,947 the staircase, the apartment, and so on. 481 00:28:59,072 --> 00:29:02,325 It's all interesting on a graphic level. 482 00:29:02,492 --> 00:29:06,162 I love the shabbiness, 483 00:29:06,287 --> 00:29:10,250 the rundown furniture. 484 00:29:10,375 --> 00:29:14,587 You see that in almost all his films. 485 00:29:14,963 --> 00:29:19,551 By refusing to divide humanity into good and bad, 486 00:29:19,676 --> 00:29:23,471 Clouzot challenged the very concept of social hierarchy. 487 00:29:23,596 --> 00:29:25,849 We're all equal because we're all guilty. 488 00:29:25,974 --> 00:29:29,269 Or we could be, which to him is the same thing. 489 00:29:29,436 --> 00:29:32,730 There are more stories to be told about the down-and-out, 490 00:29:32,856 --> 00:29:35,275 about those who have trouble surviving. 491 00:29:35,567 --> 00:29:37,444 There are more stories to tell. 492 00:29:37,861 --> 00:29:40,363 I fell in love at one point. 493 00:29:40,488 --> 00:29:44,200 I never even mentioned it flat out, but he said to me... 494 00:29:44,325 --> 00:29:46,828 "You're happy. You no longer interest me." 495 00:29:46,953 --> 00:29:48,955 I find that remarkable. 496 00:29:49,122 --> 00:29:52,167 We still saw each other, but as friends. 497 00:29:52,292 --> 00:29:54,294 But what a great line! 498 00:29:54,461 --> 00:29:56,629 "You're happy. You no longer interest me." 499 00:29:56,754 --> 00:29:59,883 He was only happy seeking out others' flaws. 500 00:30:00,008 --> 00:30:02,135 He took pleasure 501 00:30:02,594 --> 00:30:07,307 in revealing how other people's lives weren't working. 502 00:30:07,474 --> 00:30:10,143 You care for your friend well enough. 503 00:30:11,227 --> 00:30:12,479 Well or badly, I love her. 504 00:30:12,604 --> 00:30:16,024 I know. I'll try to bail her out of this. 505 00:30:16,149 --> 00:30:19,360 I think I know the real culprit. 506 00:30:19,486 --> 00:30:20,778 Thank you. 507 00:30:20,904 --> 00:30:23,698 Don't thank me. I'm just doing my job. 508 00:30:24,240 --> 00:30:28,077 Besides, I have to admit, I've taken a liking to you... 509 00:30:29,162 --> 00:30:31,331 Miss Dora Monnier. 510 00:30:31,915 --> 00:30:32,999 Me? 511 00:30:34,167 --> 00:30:37,837 Because you and I are two of a kind. 512 00:30:40,048 --> 00:30:43,843 When it comes to women, we'll never have a chance. 513 00:30:43,968 --> 00:30:46,304 He took particular interest 514 00:30:46,429 --> 00:30:49,641 in people who couldn't find love 515 00:30:49,766 --> 00:30:53,061 or who felt some sort of guilt from childhood. 516 00:30:53,186 --> 00:30:55,522 Georges is no saint. 517 00:30:55,688 --> 00:30:59,400 He likes vice in people, in his characters. 518 00:30:59,526 --> 00:31:02,111 But like all great artists, 519 00:31:02,237 --> 00:31:04,656 he explores the problem in depth. 520 00:31:04,781 --> 00:31:07,325 We all have our obsessions, 521 00:31:07,450 --> 00:31:10,912 but I personally prefer a guy with vices 522 00:31:11,037 --> 00:31:13,706 who can accept the vice in others 523 00:31:13,831 --> 00:31:16,876 to a fellow who's virtuous but intolerant. 524 00:31:17,418 --> 00:31:20,964 Though the film is renowned as a classic in the genre 525 00:31:21,089 --> 00:31:25,927 and finally brought Clouzot unanimous acclaim in the film world, BEST DIRECTOR, VENICE 1947 526 00:31:26,052 --> 00:31:28,680 it marks the end of a certain aspiration. 527 00:31:28,805 --> 00:31:30,056 Slate! 528 00:31:30,223 --> 00:31:32,016 Brasil, scene 1. 529 00:31:32,141 --> 00:31:36,229 I was sick of traditional screenplays and their tired plots. 530 00:31:36,396 --> 00:31:40,149 For Brasil, I didn't even have to go looking for an idea. 531 00:31:40,275 --> 00:31:43,194 It appeared very naturally in my life. 532 00:31:43,319 --> 00:31:45,822 It's not a typical film. 533 00:31:45,947 --> 00:31:50,535 Just as this is my actual apartment and not a set, 534 00:31:50,660 --> 00:31:55,290 nothing you'll see onscreen will be made up or faked. 535 00:31:55,540 --> 00:32:00,628 Usually you're shown a fake story played by real actors. 536 00:32:00,962 --> 00:32:04,090 This time, you'll see a real story 537 00:32:04,215 --> 00:32:06,426 performed by nonactors. 538 00:32:06,593 --> 00:32:09,262 He reinvents himself before our eyes 539 00:32:09,429 --> 00:32:12,307 and steps through the screen to direct 540 00:32:12,432 --> 00:32:15,184 his own life in a strange mix of genres. 541 00:32:15,310 --> 00:32:18,062 This true story has a prologue 542 00:32:18,187 --> 00:32:21,649 that has already played out. I've just gotten married. 543 00:32:21,774 --> 00:32:25,570 Because I love her eyes, the eyes of a kind-hearted sorceress. 544 00:32:25,695 --> 00:32:29,782 "With Vera, I found love at 43. I was on fire. 545 00:32:30,074 --> 00:32:34,120 We never left each other's side. My life had found meaning. 546 00:32:34,287 --> 00:32:38,416 My selfishness didn't disappear. It expanded to make room for two. 547 00:32:38,541 --> 00:32:40,918 Between us, we'd share the world." 548 00:32:41,210 --> 00:32:44,881 The candor and exhibitionism of a once-jaded man 549 00:32:45,006 --> 00:32:48,926 who can't believe he's finally found true love. 550 00:32:49,052 --> 00:32:51,220 As a professional voyeur, 551 00:32:51,346 --> 00:32:54,682 Clouzot can't help but film the object of his fascination. 552 00:32:58,936 --> 00:33:01,147 I'm filming! Leave me alone! 553 00:33:01,856 --> 00:33:03,650 Where was I? 554 00:33:03,816 --> 00:33:06,778 At first it was just a lovers' voyage. 555 00:33:07,403 --> 00:33:10,823 I wanted to visit Brazil because Vera is Brazilian. 556 00:33:12,742 --> 00:33:17,789 We met Henri-Georges Clouzot at the bustling port of Marseille. 557 00:33:17,914 --> 00:33:22,669 Can you tell us about the film you've started shooting here? 558 00:33:22,794 --> 00:33:26,589 It's a travelogue that will differ from a documentary 559 00:33:26,714 --> 00:33:29,300 in that it will be entirely subjective. 560 00:33:29,425 --> 00:33:33,346 I don't know if the country's social issues will interest me 561 00:33:33,513 --> 00:33:35,932 more than its picturesque aspects. 562 00:33:36,057 --> 00:33:38,685 That's all we'll ever know about the documentary. 563 00:33:38,851 --> 00:33:42,522 It's abruptly halted by Brazilian authorities as too dangerous. 564 00:33:42,980 --> 00:33:46,484 But it will inspire Clouzot's two greatest films, 565 00:33:46,609 --> 00:33:49,028 starting with his most iconic... 566 00:33:49,612 --> 00:33:51,948 The Wages of Fear. 567 00:33:52,740 --> 00:33:54,701 One drop of this liquid.... 568 00:33:59,080 --> 00:34:03,000 Experienced drivers sought... 569 00:34:04,043 --> 00:34:06,003 for dangerous work. 570 00:34:06,587 --> 00:34:07,714 Good pay. 571 00:34:28,735 --> 00:34:31,946 All washed up in a seedy South American town, 572 00:34:32,071 --> 00:34:35,491 several idle characters try to change their fortunes 573 00:34:35,616 --> 00:34:38,244 by agreeing to drive run-down trucks 574 00:34:38,369 --> 00:34:41,706 packed with nitroglycerine over rough terrain. 575 00:34:43,249 --> 00:34:45,168 None will survive. 576 00:34:48,212 --> 00:34:50,423 At a certain point... 577 00:34:50,548 --> 00:34:53,009 you get tired of telling the eternal story 578 00:34:53,134 --> 00:34:57,680 about a husband, wife, and lover, or about small-town life in France. 579 00:34:57,805 --> 00:35:00,433 I saw my chance to make in France 580 00:35:00,600 --> 00:35:03,019 what the Americans have made many times 581 00:35:03,144 --> 00:35:06,355 but has rarely been attempted in Europe: 582 00:35:06,481 --> 00:35:08,983 a true action film, 583 00:35:09,108 --> 00:35:11,778 but one where the men's inner struggles 584 00:35:11,903 --> 00:35:14,864 are as violent as the external events. 585 00:35:16,908 --> 00:35:17,950 10... 586 00:35:19,035 --> 00:35:19,911 Leave it! 587 00:35:20,036 --> 00:35:23,873 12, 13, 14! 588 00:35:26,000 --> 00:35:28,795 Action films are rare in French cinema. 589 00:35:28,920 --> 00:35:32,799 They're hard to make. 590 00:35:32,924 --> 00:35:34,801 One day Rene Clair said... 591 00:35:34,967 --> 00:35:36,969 "I wouldn't have done it for a billion francs! 592 00:35:37,136 --> 00:35:39,889 I'd never get involved in such a crazy venture." 593 00:35:40,014 --> 00:35:43,184 It would have been easier on a soundstage, 594 00:35:43,309 --> 00:35:45,520 as was customary at the time, 595 00:35:45,645 --> 00:35:48,314 but Clouzot wanted to break with tradition. 596 00:35:48,523 --> 00:35:51,108 Years before the New Wave, 597 00:35:51,317 --> 00:35:55,112 he believed in the power of real locations and real experiences. 598 00:36:00,409 --> 00:36:02,620 The film suffered a breakdown. 599 00:36:02,745 --> 00:36:06,207 Out with the umbrellas! Bad weather halted filming 600 00:36:06,332 --> 00:36:08,334 that October. 601 00:36:08,459 --> 00:36:10,962 I remember a full-page article 602 00:36:11,087 --> 00:36:13,506 published during the shoot 603 00:36:13,631 --> 00:36:17,301 that claimed I had single-handedly TORRENTIAL RAINS DELAY SHOOTING 604 00:36:17,426 --> 00:36:21,013 sunk French cinema with my ridiculous demands. 605 00:36:21,138 --> 00:36:24,308 It might have ended there, but seven months later, 606 00:36:24,433 --> 00:36:26,769 in June 1952, 607 00:36:26,894 --> 00:36:29,689 shooting begins again with a new producer. 608 00:36:29,814 --> 00:36:31,858 Against all odds... 609 00:36:32,024 --> 00:36:35,194 the film will finally be completed. 610 00:36:40,449 --> 00:36:42,577 At 10, when I saw this film, FILMMAKER 611 00:36:42,702 --> 00:36:45,079 I shook with emotion. 612 00:36:45,204 --> 00:36:48,457 I was all worked up. My palms were moist. 613 00:36:50,793 --> 00:36:53,880 I needed to use the bathroom, but I couldn't. 614 00:36:54,046 --> 00:36:56,173 I didn't want to miss a thing. 615 00:36:56,299 --> 00:36:58,634 Something might happen while I was gone. 616 00:36:59,844 --> 00:37:02,388 Terror filled me as I watched. 617 00:37:19,238 --> 00:37:21,365 It's pure suspense... 618 00:37:21,490 --> 00:37:24,535 and the direction is absolutely brilliant: FILMMAKER 619 00:37:24,660 --> 00:37:26,871 all the pitfalls along the way, 620 00:37:26,996 --> 00:37:29,206 everything threatening these men 621 00:37:29,332 --> 00:37:33,544 who are risking their lives with every jolt of their truck. 622 00:37:42,929 --> 00:37:45,181 Surprise only lasts a moment... 623 00:37:45,723 --> 00:37:48,643 but with suspense, the longer it lasts, 624 00:37:48,768 --> 00:37:51,020 the more it drives viewers crazy. 625 00:37:54,023 --> 00:37:57,276 The tension in those slow movements is incredible. 626 00:37:59,445 --> 00:38:02,949 It's like walking on ice or on a razor's edge. 627 00:38:05,743 --> 00:38:08,329 I was struck by how the sound 628 00:38:08,454 --> 00:38:10,456 helps builds the suspense too. 629 00:38:14,043 --> 00:38:17,421 The downshifting... 630 00:38:17,546 --> 00:38:20,675 accelerating, slowing down... 631 00:38:20,800 --> 00:38:22,218 and stopping. 632 00:38:24,261 --> 00:38:27,223 It's like musique concrete! 633 00:38:27,348 --> 00:38:30,810 Any hack director would have drowned it in music. 634 00:38:30,977 --> 00:38:33,145 Clouzot uses only sounds. 635 00:38:35,982 --> 00:38:39,151 It's a way of challenging Hollywood's usual tricks 636 00:38:39,318 --> 00:38:41,654 and attempting something new. 637 00:38:44,031 --> 00:38:47,827 Clouzot is brilliant at choosing what to show. 638 00:38:57,795 --> 00:39:01,090 We don't know why the truck blew up. 639 00:39:01,215 --> 00:39:03,175 We just hear an explosion. 640 00:39:03,467 --> 00:39:09,140 That's a magnificent moment visually. 641 00:39:09,265 --> 00:39:14,311 We sense their deaths through a close-up of a cigarette being rolled. 642 00:39:14,437 --> 00:39:17,440 In terms of masterful direction, 643 00:39:17,565 --> 00:39:19,859 it's simply magnificent. 644 00:39:19,984 --> 00:39:22,445 If you stop, you'll never get started again. 645 00:39:23,446 --> 00:39:25,364 We got no choice. 646 00:39:26,532 --> 00:39:27,366 Okay. 647 00:39:37,334 --> 00:39:39,378 Hurry up! 648 00:39:43,299 --> 00:39:45,676 Wait, wait! 649 00:39:46,802 --> 00:39:48,721 Let me move this. 650 00:39:50,598 --> 00:39:52,808 Wait! 651 00:40:00,066 --> 00:40:01,317 Stop! 652 00:40:01,442 --> 00:40:03,069 Get out of the way! 653 00:40:03,986 --> 00:40:05,654 I can't! 654 00:40:05,780 --> 00:40:07,406 I'm stuck! 655 00:40:08,908 --> 00:40:09,992 Move! 656 00:40:12,369 --> 00:40:14,580 Mario, stop! 657 00:40:22,004 --> 00:40:24,215 It's absolutely brilliant. 658 00:40:24,340 --> 00:40:27,259 In that moment of pure sadism... 659 00:40:27,384 --> 00:40:30,096 lies something very powerful. 660 00:40:35,935 --> 00:40:40,064 Their relationship is truly sadomasochist. 661 00:40:40,439 --> 00:40:44,610 Yves Montand slaps Vanel, 662 00:40:44,777 --> 00:40:46,987 Vanel whimpers. 663 00:40:47,113 --> 00:40:50,241 Their dominant-submissive relationship is completely sexualized. 664 00:40:50,366 --> 00:40:53,327 It's very powerful. 665 00:40:53,452 --> 00:40:56,247 It's the soul of the film. 666 00:40:56,372 --> 00:40:58,791 He must have believed - 667 00:40:58,958 --> 00:41:01,877 rightly or wrongly, I don't know - 668 00:41:02,002 --> 00:41:04,630 that sadomasochism ruled the world. 669 00:41:04,755 --> 00:41:08,384 I agree that the desire for power and domination 670 00:41:08,509 --> 00:41:10,719 is certainly a key... 671 00:41:11,971 --> 00:41:14,723 in human relationships. 672 00:41:14,849 --> 00:41:18,144 But he wasn't a sexual pervert. 673 00:41:18,269 --> 00:41:21,897 It was a way of seeing relationships, 674 00:41:22,022 --> 00:41:24,358 a way of decoding them. 675 00:41:24,483 --> 00:41:29,947 I knew nothing about sadomasochism, but I learned that, for Clouzot, 676 00:41:30,072 --> 00:41:34,076 a true sadist is also a masochist. 677 00:41:34,201 --> 00:41:38,998 What should be the role of the man and the woman in a marriage? 678 00:41:39,456 --> 00:41:42,710 The roles of dictator and slave. 679 00:41:44,211 --> 00:41:47,131 Woman is the dictator, man is the slave. 680 00:41:47,256 --> 00:41:49,341 Bravo! I agree totally! 681 00:41:49,466 --> 00:41:52,720 The awards at Cannes were announced tonight. 682 00:41:52,845 --> 00:41:55,806 The Palme d'Or went to The Wages of Fear, 683 00:41:55,931 --> 00:42:01,020 and Best Actor went to Charles Vanel in the same film. 684 00:42:01,145 --> 00:42:04,356 The Palme d'Or at Cannes, the Golden Bear in Berlin, 685 00:42:04,690 --> 00:42:07,568 London's BAFTA Best Film Award. 686 00:42:07,693 --> 00:42:10,905 The film's iconic images are shown worldwide 687 00:42:11,030 --> 00:42:14,617 and prove Clouzot the equal of the greats in cinema. 688 00:42:15,201 --> 00:42:18,162 Vera has a secondary but unsettling role, 689 00:42:18,287 --> 00:42:21,207 a mix of desire and submission. 690 00:42:21,332 --> 00:42:23,500 But it's just the beginning. 691 00:42:23,626 --> 00:42:27,046 The film's success leads to a starring role for her. 692 00:42:28,881 --> 00:42:33,219 Diabolique is a really interesting film CLOUZOT'S MASTERPIECE 693 00:42:33,344 --> 00:42:36,972 because it's a curious example of a great actress, Simone Signoret, 694 00:42:37,389 --> 00:42:42,186 acting in true tandem in many scenes 695 00:42:42,311 --> 00:42:46,857 with a weaker, less experienced actress. 696 00:42:46,982 --> 00:42:52,196 Something very intriguing emerges from this clash 697 00:42:52,321 --> 00:42:58,869 of mismatched actresses with differing abilities. 698 00:42:58,994 --> 00:43:00,955 Vera Clouzot's inexperience 699 00:43:01,080 --> 00:43:04,375 ends up working in her character's favor. 700 00:43:04,500 --> 00:43:09,380 It underlines the element of manipulation. 701 00:43:09,505 --> 00:43:13,801 Good screenwriting is about writing for your specific actors. 702 00:43:13,926 --> 00:43:19,098 Hitchcock once told me he chose his actors based on their flaws. 703 00:43:19,223 --> 00:43:22,768 You can always try to play up their strengths, 704 00:43:22,893 --> 00:43:25,854 but you can't get rid of their flaws, 705 00:43:25,980 --> 00:43:27,606 so it's best to use them. 706 00:43:28,107 --> 00:43:30,109 During their trip to Brazil, 707 00:43:30,276 --> 00:43:33,904 Clouzot was fascinated to learn how superstitious Vera was. 708 00:43:34,029 --> 00:43:37,658 When an oracle announced ill omens for the couple, 709 00:43:37,783 --> 00:43:40,786 Clouzot saw the fear on his wife's face. 710 00:43:41,287 --> 00:43:44,248 She warned him about dark forces... 711 00:43:45,124 --> 00:43:48,711 and he decided to use that as the basis for Diabolique. 712 00:43:48,836 --> 00:43:53,966 The wife and the mistress join forces to kill the husband. 713 00:43:54,300 --> 00:43:56,885 I may be a bit old-fashioned, 714 00:43:57,011 --> 00:43:59,471 but this is absolutely astounding. 715 00:43:59,596 --> 00:44:03,434 The legal wife consoling the mistress. 716 00:44:03,559 --> 00:44:05,060 No, no, and no. 717 00:44:05,185 --> 00:44:08,230 I'd like to die and never see him again. 718 00:44:08,355 --> 00:44:10,816 Die, my sweet. Die quickly. 719 00:44:11,358 --> 00:44:14,737 We'll give you a nice funeral and finally be rid of you. 720 00:44:14,862 --> 00:44:17,990 The school won't suffer, and I'll feel much better. 721 00:44:19,450 --> 00:44:21,535 But the corpse disappears. 722 00:44:21,910 --> 00:44:24,663 - He isn't there anymore? - No, he isn't. 723 00:44:25,539 --> 00:44:28,167 Does a corpse that disappears seem natural to you? 724 00:44:28,292 --> 00:44:30,502 Returned from the dead, 725 00:44:30,669 --> 00:44:34,089 his ghost seems to torment his diabolical wife. 726 00:44:36,008 --> 00:44:39,970 A remarkable thing about Clouzot is that he doesn't need dialogue 727 00:44:40,095 --> 00:44:43,182 or elaborate staging to terrify viewers. 728 00:44:44,183 --> 00:44:46,685 He terrifies them discreetly 729 00:44:46,810 --> 00:44:49,313 with little details. 730 00:44:50,105 --> 00:44:53,317 His style is to show the tension and fear 731 00:44:53,442 --> 00:44:56,320 that reside in the shadows. 732 00:44:56,445 --> 00:45:00,699 He has a talent for terrifying viewers with the unseen. 733 00:45:04,745 --> 00:45:08,415 And at the core of this intrigue, this spectacle, 734 00:45:08,540 --> 00:45:12,086 Clouzot incorporates his wife's real-life heart condition. 735 00:45:27,226 --> 00:45:29,561 It was madness. 736 00:45:30,104 --> 00:45:33,065 If your wife has a heart problem... 737 00:45:34,566 --> 00:45:36,735 you don't put her in films. 738 00:45:37,069 --> 00:45:40,697 You put her in a lounge chair with some knitting 739 00:45:41,073 --> 00:45:43,534 and an orangeade. 740 00:45:43,659 --> 00:45:46,078 That's not love. 741 00:45:46,203 --> 00:45:48,914 It's certifiable madness. 742 00:45:55,045 --> 00:45:59,550 I imagine there were personal and other factors at play. 743 00:45:59,675 --> 00:46:03,554 She probably asked him, "Why don't you give me a role?" 744 00:46:03,679 --> 00:46:07,057 So he had no choice. 745 00:46:07,182 --> 00:46:09,852 But at the same time, 746 00:46:10,269 --> 00:46:13,230 he shouldn't have deluded himself. 747 00:46:13,355 --> 00:46:15,441 He worked her extremely hard. 748 00:46:15,566 --> 00:46:17,734 Filming was terribly stressful, 749 00:46:17,860 --> 00:46:20,362 with lots of takes. 750 00:46:20,487 --> 00:46:22,823 That's due to the fact 751 00:46:23,157 --> 00:46:27,786 that when you're aiming for a certain intensity on set, 752 00:46:27,953 --> 00:46:31,123 you have to give yourself to it completely. 753 00:46:31,290 --> 00:46:34,418 If you yourself aren't totally tense and concentrated, 754 00:46:34,543 --> 00:46:38,505 feeling the very terror you're trying to express, 755 00:46:38,630 --> 00:46:40,048 nothing happens. 756 00:46:40,424 --> 00:46:43,635 Quiet on the set. Silence! 757 00:46:43,927 --> 00:46:45,971 Camera. 758 00:46:46,638 --> 00:46:50,142 - Action! - What a job! 759 00:46:50,893 --> 00:46:53,061 You have to act, Gisele! 760 00:46:53,187 --> 00:46:56,607 You're in such a hurry we hardly see you. 761 00:46:56,732 --> 00:46:58,984 We don't even realize it's you. 762 00:46:59,151 --> 00:47:01,737 Should I wait a beat after "action"? 763 00:47:01,862 --> 00:47:04,990 No, sweetheart. That's not the point. 764 00:47:05,157 --> 00:47:07,826 The camera has an incredibly sharp eye. 765 00:47:08,410 --> 00:47:13,165 If the terror isn't real, viewers won't believe it. 766 00:47:13,290 --> 00:47:17,461 For Clouzot, you can only convey what you're feeling. 767 00:47:17,586 --> 00:47:21,340 This is where you mustn't speak too fast. 768 00:47:21,507 --> 00:47:24,593 If you want to capture 769 00:47:24,718 --> 00:47:27,971 a character's suffering as if in a documentary, 770 00:47:28,096 --> 00:47:30,516 you have to make the actor suffer. 771 00:47:30,849 --> 00:47:35,020 So he slaps his actors and treats them badly. 772 00:47:35,145 --> 00:47:37,147 He's very rough. 773 00:47:37,272 --> 00:47:41,860 He creates terrible tension on set. Many people have reported that. 774 00:47:42,027 --> 00:47:46,657 We've heard about his violence toward actors, particularly toward you. 775 00:47:46,782 --> 00:47:50,077 Sure, he slapped me, but that's because he's crazy. 776 00:47:50,202 --> 00:47:52,704 It was actually very funny. 777 00:47:53,080 --> 00:47:58,043 You have to put an actor into a certain nervous state. 778 00:47:58,168 --> 00:48:02,881 And if he can't find that state on his own after various takes, 779 00:48:03,006 --> 00:48:05,133 you have to help him... 780 00:48:05,384 --> 00:48:07,678 by any means necessary. 781 00:48:07,803 --> 00:48:11,056 When he was on set, 782 00:48:11,181 --> 00:48:15,686 I think he really enjoyed dominating others. 783 00:48:15,978 --> 00:48:17,896 That's for sure. 784 00:48:18,063 --> 00:48:20,566 Now, it either worked or it didn't. 785 00:48:21,567 --> 00:48:24,611 Thus the dark legend around Clouzot is born. 786 00:48:24,736 --> 00:48:27,406 Paradoxically, it's great for publicity 787 00:48:27,531 --> 00:48:30,158 with a scandal-hungry press. 788 00:48:30,284 --> 00:48:33,161 Reporters looking for scoops crowd his sets, 789 00:48:33,287 --> 00:48:36,081 hoping to witness the next outburst. 790 00:48:36,206 --> 00:48:40,502 The event of the week is Clouzot's film La Verite. 791 00:48:40,627 --> 00:48:43,338 We're here with the director of Le Corbeau, 792 00:48:43,463 --> 00:48:46,466 Quai des Orfevres, and The Wages of Fear. 793 00:48:46,592 --> 00:48:49,428 Things didn't go very well between them, 794 00:48:49,553 --> 00:48:52,764 because he was used to slapping his actresses. 795 00:48:53,098 --> 00:48:55,392 One day he slapped her, 796 00:48:55,517 --> 00:48:58,937 and she slapped him back and stomped on his foot. 797 00:48:59,313 --> 00:49:01,773 It was a big drama! BARDOT'S DRESSER 798 00:49:01,940 --> 00:49:05,527 But he got the message. Things went smoothly after that. 799 00:49:05,861 --> 00:49:08,989 Being around Clouzot had its dangers. 800 00:49:09,114 --> 00:49:12,576 But if it wasn't working after a few days, 801 00:49:12,701 --> 00:49:14,995 he got rid of you. 802 00:49:15,120 --> 00:49:18,915 However, if you engaged with him and played his game, 803 00:49:19,041 --> 00:49:21,084 things got complicated. 804 00:49:21,209 --> 00:49:25,255 Because the point wasn't just to go along with everything. 805 00:49:25,380 --> 00:49:28,759 You had to rebel 806 00:49:28,884 --> 00:49:33,013 and stand up to him, 807 00:49:33,138 --> 00:49:37,017 but not in a stupid, knee-jerk fashion. 808 00:49:37,142 --> 00:49:39,936 It was complicated. 809 00:49:40,062 --> 00:49:42,439 So yes, it was dangerous, 810 00:49:42,564 --> 00:49:46,526 but as all the actors who worked with him agree, 811 00:49:46,652 --> 00:49:50,155 including Bardot, they went back for more. 812 00:49:50,280 --> 00:49:52,991 Brigitte had never looked so - 813 00:49:53,116 --> 00:49:58,288 With him she's incredibly natural, beautiful - it's all there. 814 00:49:58,622 --> 00:50:00,415 He made her shine. 815 00:50:01,291 --> 00:50:05,671 He didn't behave as he did just to get her down. 816 00:50:06,963 --> 00:50:11,802 For his tenth film, ironically entitled La Verite, 817 00:50:11,927 --> 00:50:14,596 Clouzot denounces the absurdity of the legal system. 818 00:50:14,721 --> 00:50:17,516 With a girl like that, truth may be the best defense for once. 819 00:50:17,683 --> 00:50:19,184 But which truth? 820 00:50:19,309 --> 00:50:21,937 He adopts Andre Malraux's phrase: 821 00:50:22,062 --> 00:50:24,773 "To judge is clearly not to understand, 822 00:50:24,898 --> 00:50:27,150 because if one understood, one couldn't judge." 823 00:50:27,275 --> 00:50:30,404 I wasn't ready to marry. I just wanted us to be happy. 824 00:50:30,529 --> 00:50:33,281 Is happiness incompatible with respectability? 825 00:50:33,407 --> 00:50:35,117 Is marriage so respectable? 826 00:50:35,784 --> 00:50:37,661 In the dock... 827 00:50:37,869 --> 00:50:41,498 Bardot once again embodies a sexually liberated generation. 828 00:50:41,623 --> 00:50:45,085 She's sleeps around and urges Sami Frey to bed her own sister. 829 00:50:45,210 --> 00:50:48,213 So what are you waiting for? She might lighten up. 830 00:50:48,505 --> 00:50:51,007 In short, everything that shocks and frightens 831 00:50:51,133 --> 00:50:55,220 the conservative society in whose name justice is meted out. 832 00:50:55,345 --> 00:50:59,725 Is it a documentary about the actress playing the role, 833 00:50:59,850 --> 00:51:02,394 or is it about the character? 834 00:51:02,519 --> 00:51:04,396 But Gilbert did love me! 835 00:51:04,563 --> 00:51:07,774 You just don't want to admit it! You can't bear to! 836 00:51:07,899 --> 00:51:09,901 That's the only truth! 837 00:51:10,068 --> 00:51:13,822 I was silly and cruel, with flaws galore... 838 00:51:14,114 --> 00:51:16,241 but he loved me anyway! 839 00:51:16,908 --> 00:51:18,869 Now I'll never see him again. 840 00:51:18,994 --> 00:51:22,372 That scene was done in one take. 841 00:51:22,497 --> 00:51:28,295 I could only give my best performance with the first swell of emotion, 842 00:51:28,420 --> 00:51:32,257 unlike professional actors 843 00:51:32,424 --> 00:51:36,595 whose acting gets better with every take. 844 00:51:36,720 --> 00:51:38,680 I couldn't do that. 845 00:51:39,097 --> 00:51:43,101 Clouzot got me worked up into a state of despair 846 00:51:43,226 --> 00:51:46,229 just before doing the scene. 847 00:51:46,438 --> 00:51:49,399 I didn't allow her to rehearse. 848 00:51:49,524 --> 00:51:53,153 I'd get her worked up as needed, 849 00:51:53,278 --> 00:51:56,656 then throw her in front of the camera, 850 00:51:56,782 --> 00:51:59,826 and she'd get it on the first take. 851 00:51:59,951 --> 00:52:02,746 He'd say "action" and I'd go for it. 852 00:52:03,205 --> 00:52:05,165 Never again, you hear? 853 00:52:05,290 --> 00:52:08,752 So do as you like with me! I'm not afraid! 854 00:52:08,877 --> 00:52:12,005 You sit there in your ridiculous outfits! 855 00:52:12,130 --> 00:52:16,134 You judge me, but you've never lived or loved! 856 00:52:16,551 --> 00:52:20,972 That's why you hate me - because you're all dead! 857 00:52:21,223 --> 00:52:25,143 For me, her performance in the last 45 minutes 858 00:52:25,310 --> 00:52:30,690 is some of the best work ever by any actress in a film. 859 00:52:30,816 --> 00:52:33,318 Even more so since it's Bardot, 860 00:52:33,485 --> 00:52:36,154 who was seen as frivolous and superficial. 861 00:52:36,279 --> 00:52:38,907 Suddenly she's this tragic character. 862 00:52:39,032 --> 00:52:41,993 I was no longer myself, 863 00:52:42,118 --> 00:52:46,748 yet the emotions I was expressing were real. 864 00:52:46,873 --> 00:52:48,667 I wasn't acting. 865 00:52:51,545 --> 00:52:54,631 Clouzot was always pushing the boundaries of his era 866 00:52:54,756 --> 00:52:57,175 to capture something new. 867 00:52:57,300 --> 00:52:59,845 But his exploration of this new territory 868 00:53:00,011 --> 00:53:02,430 where reality and fiction blur 869 00:53:02,556 --> 00:53:04,516 wasn't without its perils. 870 00:53:08,436 --> 00:53:11,398 In a strange echo of the film, 871 00:53:11,523 --> 00:53:14,693 Bardot tries to kill herself after the shoot ends. 872 00:53:15,277 --> 00:53:17,779 Clouzot too has a brush with death, 873 00:53:17,904 --> 00:53:20,991 when his first heart attack knocks him unconscious. 874 00:53:21,116 --> 00:53:24,202 With Vera, the game of submission and domination 875 00:53:24,327 --> 00:53:27,372 takes a particularly dramatic turn. 876 00:53:27,539 --> 00:53:30,292 "I'm a monster with the face of a madman, 877 00:53:30,417 --> 00:53:33,169 selfishly pushing her to madness and death. 878 00:53:33,420 --> 00:53:36,798 I don't let her rest. I smoke constantly. 879 00:53:36,923 --> 00:53:40,051 She wonders why she left her ex-husband." 880 00:53:40,176 --> 00:53:43,847 Clouzot continues, "And it's not just her. 881 00:53:43,972 --> 00:53:48,018 No one loves me or ever has loved me - 882 00:53:48,143 --> 00:53:51,396 not my mother, nor any woman, nor any girlfriend." 883 00:53:51,563 --> 00:53:54,482 "My love," writes Vera to Henri-Georges, 884 00:53:54,608 --> 00:53:57,736 "I haven't been nice. I'm sorry I'm not a better person. 885 00:53:58,403 --> 00:54:01,364 You deserve to have me always at your feet. 886 00:54:01,489 --> 00:54:03,241 I promise to be very sweet. 887 00:54:03,366 --> 00:54:06,077 I love and adore you. Your little monster, Vera." 888 00:54:06,536 --> 00:54:10,248 We just received news of the death of Vera Clouzot, 889 00:54:10,415 --> 00:54:14,252 wife of the director of Diabolique, The Wages of Fear, and Les Espions. 890 00:54:14,377 --> 00:54:16,963 Clouzot learned the tragic news 891 00:54:17,088 --> 00:54:19,925 upon flying in from Nice. 892 00:54:20,050 --> 00:54:24,596 Her residence, the Hotel George V, was quickly swarmed by photographers. 893 00:54:24,721 --> 00:54:27,599 Our reporter, Philippe Real, was on the scene. 894 00:54:27,933 --> 00:54:30,101 He interviewed the police chief, 895 00:54:30,226 --> 00:54:34,439 who said the medical examiner ruled it a natural death. 896 00:54:34,606 --> 00:54:37,943 There will be no investigation. 897 00:54:42,280 --> 00:54:44,199 With Vera's consent... 898 00:54:44,324 --> 00:54:46,868 Clouzot had filmed Death's approach, 899 00:54:47,285 --> 00:54:51,623 making us voyeurs and reluctant accomplices 900 00:54:51,748 --> 00:54:55,293 as we watch these images that remain forever troubling. 901 00:54:57,337 --> 00:55:00,507 Is it the ardent love of a passionate filmmaker? 902 00:55:04,219 --> 00:55:07,138 The perverse pleasure of the artist? 903 00:55:07,305 --> 00:55:11,309 Or the impotence of a man terrified his wife might die 904 00:55:11,685 --> 00:55:15,730 who can only exorcise that terror by putting it on-screen? 905 00:55:17,691 --> 00:55:21,820 Clouzot constantly pushes the boundaries in search of something new. 906 00:55:25,907 --> 00:55:28,827 It would be a great mistake to think of Clouzot 907 00:55:28,952 --> 00:55:31,246 solely as the great classic filmmaker 908 00:55:31,371 --> 00:55:34,582 behind Quai des Orfevres, Le Corbeau, or La Verite. 909 00:55:34,708 --> 00:55:38,503 He is that, but there's more. 910 00:55:39,045 --> 00:55:41,172 He knew that to express 911 00:55:41,756 --> 00:55:45,552 the most extreme and demented aspects of human nature, 912 00:55:45,677 --> 00:55:50,515 he'd have to go beyond the limits of cinema and its technology 913 00:55:50,640 --> 00:55:52,809 and explore other arts 914 00:55:53,226 --> 00:55:57,939 like sculpture, painting, and innovations in music. 915 00:55:58,523 --> 00:56:01,943 You must never allow yourself to stagnate. 916 00:56:02,402 --> 00:56:05,321 What was interesting 15 years ago remains so, 917 00:56:05,447 --> 00:56:08,283 but you have to explore what's happening now. 918 00:56:09,868 --> 00:56:13,288 You should always be searching, or you might as well quit. 919 00:56:13,413 --> 00:56:15,832 Clouzot rubs shoulders with giants: 920 00:56:15,957 --> 00:56:18,543 His work with conductor Herbert von Karajan 921 00:56:18,710 --> 00:56:20,712 and Pablo Picasso 922 00:56:20,837 --> 00:56:23,131 makes him a major art-film figure. 923 00:56:23,256 --> 00:56:26,885 His aim isn't just to reach a goal but to surpass it. 924 00:56:27,010 --> 00:56:30,221 He instinctively senses that cinema must go further 925 00:56:30,680 --> 00:56:33,767 and break away from cliched plots, 926 00:56:33,892 --> 00:56:36,352 from the tricks of the trade, 927 00:56:36,478 --> 00:56:40,065 which leads to an experimental style of cinema. 928 00:56:41,649 --> 00:56:43,943 This is clear in L'Enfer. 929 00:56:44,069 --> 00:56:47,781 He quickly intuits that the character's jealous hallucinations 930 00:56:47,906 --> 00:56:50,241 can only be conveyed 931 00:56:50,366 --> 00:56:55,038 by shredding cinematic conventions 932 00:56:55,163 --> 00:56:58,666 and pushing the boundaries of what's possible technically. 933 00:56:59,167 --> 00:57:02,212 Clouzot sets out to shatter conventional narrative. 934 00:57:02,337 --> 00:57:07,217 In L'Enfer, he uses the main character's mental confusion 935 00:57:07,342 --> 00:57:11,262 to mix past, present, reality, and fantasy 936 00:57:11,387 --> 00:57:13,598 in an incredible kaleidoscope. 937 00:57:13,765 --> 00:57:16,976 No art that is not free can be complete. 938 00:57:17,102 --> 00:57:21,940 But no director in a very long time has been completely free. 939 00:57:22,065 --> 00:57:26,611 We never have enough film, time, or money. 940 00:57:26,736 --> 00:57:28,947 One of the film's problems was 941 00:57:29,072 --> 00:57:32,075 that Clouzot was the only one in charge. 942 00:57:32,200 --> 00:57:34,619 He did exactly what he wanted, 943 00:57:34,744 --> 00:57:37,997 how and when he wanted it. 944 00:57:38,123 --> 00:57:40,959 It was a crew of over 100 people, 945 00:57:41,084 --> 00:57:44,462 with three teams shooting simultaneously, 946 00:57:44,587 --> 00:57:47,632 often getting in each other's way. 947 00:57:47,757 --> 00:57:51,469 The idea was that Clouzot would go from set to set, 948 00:57:51,594 --> 00:57:54,430 theoretically speeding up filming. 949 00:57:54,556 --> 00:57:57,392 The shoot went badly. Plus, he was sick. 950 00:57:57,517 --> 00:58:01,020 And he fell victim to his own megalomania. 951 00:58:01,146 --> 00:58:06,317 I don't remember how old he was, but he was no spring chicken. 952 00:58:06,442 --> 00:58:11,823 To try to juggle three film crews at once isn't very sensible. 953 00:58:11,948 --> 00:58:17,036 He'd always been sickly, with a weak constitution. 954 00:58:17,162 --> 00:58:20,206 Now he had a heart attack, 955 00:58:20,331 --> 00:58:24,335 and the film was abruptly halted. 956 00:58:28,506 --> 00:58:33,094 You have to be a megalomaniac, or everyone would be a director. 957 00:58:33,761 --> 00:58:38,099 But not too much of one, because it quickly becomes a trap. 958 00:58:38,224 --> 00:58:40,518 Many of the greatest directors 959 00:58:40,727 --> 00:58:43,771 were victims of their own megalomania. 960 00:58:43,897 --> 00:58:47,192 Fellini, for example. One of the greatest ever. 961 00:58:47,734 --> 00:58:53,198 He died without ever making the film he'd always dreamed of making. 962 00:58:53,323 --> 00:58:55,992 I think Clouzot was very ambitious, 963 00:58:56,117 --> 00:58:59,078 and that's a huge asset in this profession. 964 00:58:59,245 --> 00:59:02,457 Better to be ambitious than not! 965 00:59:02,582 --> 00:59:07,337 And he was. He aspired to produce works of art. 966 00:59:07,462 --> 00:59:10,131 Striving to be a true artist 967 00:59:10,256 --> 00:59:13,885 is a very ambitious and perilous endeavor. 968 00:59:14,010 --> 00:59:16,387 You could say that L'Enfer killed him... 969 00:59:16,554 --> 00:59:18,598 even if not immediately. 970 00:59:18,723 --> 00:59:23,061 Forcing a director to stop working is like killing him. 971 00:59:24,479 --> 00:59:27,023 He did go back to work, 972 00:59:27,148 --> 00:59:29,359 but he never again had - 973 00:59:29,484 --> 00:59:31,736 how can I put it? - 974 00:59:31,861 --> 00:59:35,323 the strength to tackle major projects. 975 00:59:36,366 --> 00:59:41,287 Clouzot classifies, summarizes, theorizes, diagrams, organizes, 976 00:59:41,412 --> 00:59:45,083 and tries to master his story to the point of exhaustion. 977 00:59:45,416 --> 00:59:47,835 He'd always second-guess everything 978 00:59:47,961 --> 00:59:50,713 and tear apart his work from the day before. 979 00:59:50,838 --> 00:59:54,133 It was rough not only on him 980 00:59:54,259 --> 00:59:57,387 but on his co-screenwriters too. 981 00:59:57,512 --> 01:00:01,391 It grew out of control, like a cancer. 982 01:00:01,516 --> 01:00:05,728 Toward the end of his life, the last ten years, 983 01:00:05,853 --> 01:00:10,358 no matter what had been written, he'd pick it apart the next day, 984 01:00:10,483 --> 01:00:12,568 so nothing moved forward. 985 01:00:12,694 --> 01:00:15,113 You were always at a dead end. 986 01:00:15,238 --> 01:00:19,492 He no longer knew what to film. 987 01:00:19,617 --> 01:00:22,203 He'd have writers bringing him ideas all the time. 988 01:00:22,328 --> 01:00:24,580 I myself spent an afternoon talking with him, 989 01:00:24,706 --> 01:00:27,083 like all the other writers he'd summon. 990 01:00:28,126 --> 01:00:32,171 He'd see three writers a day, young and old. 991 01:00:32,297 --> 01:00:33,923 "What's your story about?" 992 01:00:34,048 --> 01:00:37,427 We'd all tell him our stories and leave... 993 01:00:37,552 --> 01:00:39,595 and he'd do nothing. 994 01:00:39,721 --> 01:00:44,058 - Do you have faith in yourself? - No. Less every day. 995 01:00:44,392 --> 01:00:46,561 - Less every day? - That's right. 996 01:00:47,145 --> 01:00:50,440 "October 8, 1970. It can't go on like this. 997 01:00:50,565 --> 01:00:53,985 Must I live out whatever time is left to me? 998 01:00:54,152 --> 01:00:57,405 The slightest thought leads to anxiety." 999 01:00:58,156 --> 01:01:01,826 With his last wife, Ines, Clouzot seeks spiritual salvation. 1000 01:01:02,869 --> 01:01:04,996 "The idea of damnation. 1001 01:01:05,121 --> 01:01:08,583 If God created us, why does he allow such suffering?" 1002 01:01:08,708 --> 01:01:11,002 "Death now wears Vera's face. 1003 01:01:11,169 --> 01:01:13,796 It's a sweet Death that will come for me, 1004 01:01:13,921 --> 01:01:17,091 offering its cold lips and soft, slim hands. 1005 01:01:17,675 --> 01:01:20,345 If Vera can judge, how will she judge? 1006 01:01:20,511 --> 01:01:22,597 I'm not afraid. 1007 01:01:23,306 --> 01:01:25,850 I have faith in her love." 1008 01:01:25,975 --> 01:01:28,519 In November 1977... 1009 01:01:28,644 --> 01:01:31,314 Henri-Georges Clouzot is found dead in his office. 1010 01:01:31,439 --> 01:01:33,816 He took his fears with him 1011 01:01:33,941 --> 01:01:38,029 and left us with ten of the greatest French films ever. 1012 01:01:38,529 --> 01:01:40,740 Near his splayed-out body... 1013 01:01:40,865 --> 01:01:43,034 his stereo played 1014 01:01:43,159 --> 01:01:45,870 Berlioz's La Damnation de Faust. 1015 01:01:46,037 --> 01:01:48,873 Staged like a true director... 79506

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