jromanbaker I like Chabrol's early work but he is not the very great film director he is made out to be. Without Hitchcock and Clouzot this film would not have existed. He tones down and sometimes exceeds the pessimism of Clouzot while upping the sensationalism of the more sensational Hitchcock films. 'La Rupture' is the apotheosis of this excess.As a gay reviewer I cannot condone his vulgar and distasteful representation and exploitation of lesbianism, nor his stereotyped and exploitative representation of a person with learning difficulties and the linking of these two in a frankly disgusting scene of sexual abuse (yes, hetero males read and learn). Nor can I respond to the utter brutality towards the child at the beginning of the film, nor the husband being killed in such an atrocious way at the end. He had psychological problems that Chabrol did not have the maturity to explore.Audran performs to perfection as usual, unlike the rest of the cast. As for the mental state into which her character is placed at the end of the film, it compares with what Clouzot did at the end of his appalling film 'La Prisonniere'.There are also in my opinion too many characters, and it is far too long. Towards the so called climax, anything can happen. There is no inexorable logic and any sensationalist ending could 'work'.With the so-called lover of the Cassel character, Chabrol not only debases lesbians but women full stop!A hateful film, illuminated by Audran who seems as remote from it all as the balloons rising into the sky. I give the film four for her, but still worry about the high ratings given by other reviewers as it shows people actually relate to this debasement.

Claudio Carvalho When the aspirant writer Charles Régnier (Jean-Claude Drouot), who is drug addicted and mentally ill, throws his four year-old son Michel against the kitchen wall in a rage attack, his wife Hélène (Stéphane Audran) defends her son and herself, hitting Charles several times with a frying pan. Her neighbor takes Hélène and Michel to the hospital and the boy has to be interned with a broken leg and concussion. Hélène works as bartender and has supported her family alone since her wealthy father-in-law Ludovic Régnier (Michel Bouquet) hates that Charles has married with someone uneducated from the lower classes. Hélène finds a low-budget boarding house nearby the hospital and rents a simple room to be close to her beloved son. Further, she hires a lawyer to get the divorce and the custody of Michel. Ludovic is advised by his lawyer that Hélène would win the custody and he hires the lowlife Paul Thomas (Jean- Pierre Cassel), who is totally broken and desperately needs money, to find dirt evidences against the Hélène. The vile Paul lures Hélène telling that he is very ill and moves to the boarding house. After a while, he does not find anything against Hélène and he decides to fabricate evidences to destroy her reputation. But things do not work as planned.I have seen many excellent films of the master of suspense Claude Chabrol, but "La Rupture" is probably the best film I have seen of this French director and a masterpiece of human cruelty and sordidness. Chabrol usually criticizes the bourgeois class in his movies, and the fight between classes is shown in "La Rupture", with a sharp demonstration of how destructive the prejudice and the power of money may be. The plot presents wealthy characters; some of them are just glanced like the actor in the boarding house but everyone has an important role in the dark story. Paul Thomas is among the most despicable villains I have ever seen, with his corrupted soul. I could write pages about this masterpiece but instead, I prefer to recommend to viewers of good taste to see it. My vote is ten.Title (Brazil): Not Available

MARIO GAUCI The alternative English-language title of this one, THE BREAK UP, always seemed to me to imply that Chabrol had made a typically classy treatment of the theme of a family going through divorce proceedings a full decade before that Oscar-laden triumph KRAMER VS. KRAMER (1979). However, the film's very opening sequence obliterates that misconception immediately and completely: the quiet breakfast being enjoyed by a mother (the ubiquitous Stephane Audran playing, as usual, a character named Helene) and her little son is suddenly shattered by the unkempt and sinister appearance of the father (Jean-Claude Drouot – perhaps best-known for playing Yul Brynner's long-haired right-hand man in THE LIGHT AT THE EDGE OF THE WORLD the following year) who is clearly in some kind of daze brought on by the use of illegal substances.The couple start arguing and, just as the man seems about to slap the woman, he grabs the kid and literally throws him clear across the room; the latter hits his head violently against the edge of a kitchen cupboard and lands in a bloody puddle on the floor! It is a thoroughly shocking sequence – not just because it is totally unexpected and comes so early in the film but also since this utterly vile act is committed by a father upon his own son! Previously, I had equally gasped at a similar deed featuring in Ingmar Bergman's influential period piece THE VIRGIN SPRING (1960) but, again, the blood link between abuser and abused here makes the action all the more reprehensible.Actually, the film's original French title, LA RUPTURE, should from the outset have been more suggestive to what was in store for the perceptive viewer and, indeed, can be interpreted to allude to various characters and events: the dissolution of the couple's socially incompatible marriage; the gash in the kid's head (he is confined to a hospital bed for the duration of the film and is never again seen in a conscious state); the wrecking of the illusory brashness with which down-on-his-luck mole (Jean-Pierre Cassel, effectively cast against type) callously spins a web of deceit around Audran in a frame-up engineered by her all-powerful father-in-law (Michel Bouquet, also uncharacteristically portraying a villain) to ensure the custody of his grandson; and, at the film's conclusion, the cracking of Audran's very sanity – not only through the incredible events happening around her, but also because of her unwittingly imbibing a drug-spiked orange juice drink concocted by Cassel!! And what about the breach in Chabrol's own stylistic approach to such archetypal material, taking in as it does a healthy dose of black comedy (the eccentric inhabitants at the foreclosing boarding house where Audran and Cassel install themselves – including three elderly tarot-playing snoops, delusional thespian Mario David, boozing landlord Jean Carmet and his bespectacled, "backward" daughter Katia Romanoff), sleazy bedroom antics (courtesy of Cassel's perennially nude and horny girl played by the delectable Catherine Rouvel) and even outright psychedelia (Audran's kaleidoscopic vision of friendly balloon vendor Dominique Zardi)! Evidently, Chabrol wears his well-documented Fritz Lang influence on his sleeve even in this case! For the record, the film under review is based on a novel by Charlotte Armstrong, of whose works Chabrol would later also adapt MERCI POUR LE CHOCOLAT (2000).The first-rate ensemble cast also boasts a handful of other notable names: Michel Duchassoy (star of that which is arguably Chabrol's finest achievement, 1969's THIS MAN MUST DIE – appearing here as Audran's sympathetic lawyer), Angelo Infanti (as the doctor treating Audran's son and a lodger in her peculiar dwelling) and even Belgian director extraordinaire Harry Kumel (who, I am ashamed to say, I did not recognize…even though I know how he looks today from recent photographs and past DVD supplements!). As always with Chabrol during this major phase in his career, the impeccable accomplishments of cinematographer Jean Rabier and composer Pierre Jansen (who contributes a strikingly unsettling score) can never be underestimated.Incidentally, Audran and Cassel would later appear as an oversexed married couple in Luis Bunuel's THE DISCREET CHARM OF THE BOURGEOISIE (1972) and, again, in Chabrol's star-studded THE TWIST (1976) which, ironically, is reputed to be his nadir(!) – and, of course, Audran and Bouquet also played husband and wife in Chabrol's THE UNFAITHFUL WIFE (1969; which, like THE BREACH itself, can be counted among Chabrol's Top 5 movies) and JUST BEFORE NIGHTFALL (1971); besides, probably as a result of this same Franco-Italo-Belgian co-production, Bouquet and Cassel would themselves be subsequently engaged to participate in Harry Kumel's own exhilarating magnum opus, MALPERTUIS (1971).

oliver-177 First, this film is very sloppy in its narrative. The exposition is very poor, so you never can tell - for instance - how far the provincial town where the action takes place is from Paris. This matters because while one character is allegedly flying over from Paris, another one can go to Paris and back within two hours. Just as the location is vague, so are the characters. Compare the characters of La Rupture to those in variously successful similar movies of the same period (Marnie - Rosemary's Baby - Secret Ceremony - the Discreet Charm of the Bourgeoisie - the Bride Wore Black, the Naked Kiss), and you'll realize that you know nothing about the characters in the Chabrol film. Stéphane Audran has enormous star quality, but her acting is flat and uninvolving (Constance Towers or Tippi Hedren are like Katina Paxinou compared to Audran). The rest of the cast chews up the scenery shamelessly to disguise the plot gaps. And don't tell me about the critique of French bourgeoisie. There is more of that in Peau d'Ane. La Rupture may have been well received at the time, but it is a dated and lazy piece of movie-making.