museumofdave American films are usually about someone coming in to clean up the mess around them; A good many French films are about people dealing with the mess that's inside--and in Les Biches (not only "The Bad Girls" as uneasily translated, but "The Does," as in fauns) director Claude Chabrol returns to his obsession with the sexual power that one individual attempts to have over another, and like Hitchcock, with identities that fluctuate as the situation changes.Les Biches is a subtle and subversive look at two women, one rich and powerful and beautiful, and a younger street artist who draws "does" on the sidewalks of Paris, picked up by the elder to vacation with her in St. Tropez during the winter--Jean-Louis Trignitant enters as the token love interest, and quietly nasty love games ensue: Chabrol's early films do not seem to date the way most films of the 1960's do, and the only problem with this one is that is should be available in widescreen as some of his quietly elegant compositions have been hacked at the edges by some corporate type that should have known better.

ametaphysicalshark Although comparisons to Hitchcock are inevitable (and perhaps deserved), Chabrol's best films have an ethereal quality and a unique approach to the storytelling that's all his. In many ways, although coming in the late stages of what is considered by many Chabrol's transitional phase (which I sometimes think is a polite way to say 'Chabrol went daft on us and decided he was a glossy espionage thriller sort'), "Les Biches" is reminiscent of some of Chabrol's early films, including the ones which were key to the development of the French New Wave. There's a lot of that in this film, with its off-kilter approach and unconventional editing, a pleasant surprise coming after the glossy, typical murder-mystery that was "The Champagne Murders". This film fits perfectly with Chabrol the auteur's style, ideology, and storytelling method (focusing heavily on the characters), and it's nice to see him craft such a visually remarkable film after the disappointments that preceded.Before going further into the visual aspects of the film I'd like to address the script. In short, it's great. It's the sort of thing that could have so easily been a heinously atrocious melodrama or a cheap skin flick (which, as the film involves bisexuality, is unsurprisingly how it was marketed in the US), but is so intelligently-written and well-developed that it works tremendously well. Most importantly, of course, the characters are complex and interesting enough to carry the first half of the film, before the strange relationships between the three main characters come to the forefront and Chabrol relentlessly builds the sexual tension and suspense all the way through to the film's excellent final scene. The visuals are unquestionably Chabrol. The direction is highly controlled and the camera is rarely still, and even then a zoom is almost expected. With most other directors this would almost feel impatient and unnecessary but Chabrol is always able to use the technique to his advantage, using the motion evocatively and reflecting the nature of the film's events, and this also means that stillness can be used to great effect (as it is in a key scene in around the hour and twenty minute mark). The cinematography by Jean Rabier (Cléo de 5 à 7) is excellent and doubtlessly influenced heavily by Chabrol, who frequently favors muted colors, especially pastels, and understated use of sunlight. The choreography of the camera movement and those in front of the camera is of far more interest than the photography, however, and may even be a nuisance to some viewers as the movement of the characters is often very contrived and even unnatural to create a particular sort of shot composition. These scenes achieve a sort of gracefulness that ultimately works in favor of the film stylistically, but realists and naturalists might be upset."Les Biches" is one of Chabrol's better sixties films, a taut, suspenseful drama that should be approached without any specific expectations of genre or style. The characters carry the film, and Chabrol's stylish but sophisticated direction keeps the film involving and gripping, allowing the viewer a rare bit of comfort now and then before raising the tension again. 9/10

shepardjessica-1 Although I've usually enjoyed Chabrol's film and his (then-wife's) Stephane Audran's ice-cool looks, this is down the ho-hum trail from beginning to end (picking up a bit in the middle). Trintignant is his usual passive self and Jacquelline Sassard is strange and disturbing-looking with no apparent acting talent.A 3 out of 10. Best performance = S. Audran. If this is supposed to be erotic, mysterious, and dark - it missed the mark by a mile. Beautiful French locales with extra supporting characters who serve no real purpose. Don't waste your time unless you're really a Chabrol junkie. Have wanted to see this for years...what a pity.

amritayoni This is a beautiful and emotionally tense movie, full of unsaid things, wealth and desire. The photography is beautiful, the performances excellent.However, I must warn you that if are hoping for a movie that depicts bisexual and polyamorous people as realistic, sane or mature, you will be disappointed. This movie seems to be the prototype for other "threatening bisexual woman" movies, such as "Basic Instinct", but see it anyway for the drama and the beauty.