“The Color of Lies”: Claude Chabrol and the art of the offhanded thriller

The Color of Lies 2

Claude Chabrol made thrillers that didn’t seem to realize they were thrillers. From his first film of the French New Wave, “La Beau Serge (modeled on Alfred Hitchcock’s “Shadow of a Doubt”) to his later films a half-century later (like 2004’s haunting tale of obsession “The Bridesmaid”), his films had a very distinctive take on the thriller genre. Rather than amp up the lurid details, Chabrol’s camera felt almost detached from the action, letting the actors give naturalistic, almost languid performances, until they sort of just happen into a murder plot.

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