Le Corbeau is a short and pointed film, never straying far from its central plot line. In a small village, mysterious letters are showing up just about everywhere. The anonymous letters allege the worst -- infidelities, alcoholism, abortions -- and no one is immune. Within days a witch hunt is underway, as the two figurehead leaders of the village, two doctors, launch an all-out campaign to uncover the "poison pen," whose alias is "Le Corbeau," aka "The Raven." Their quest culminates in an event obviously inspired by Nazi atrocities, as everyone in town is rounded up and forced to rewrite some of Le Corbeau's greatest hits all night long, the idea being that eventually, The Raven's true handwriting will be revealed, along with The Raven's identity.
Continue reading: Le Corbeau Review
The problem, according to an essay by François Truffaut included in the lovingly restored Criterion edition of the film, was the film's dialogue, written by Jean Cocteau. Cocteau was one of cinema's true poets (the best of his own films - Blood of a Poet, Orpheus, Beauty and the Beast - are among the most magical ever made). But it seems likely that French audiences, having been living under the heel of the Nazi occupation, were not particularly receptive to such rarified, wildly sophisticated banter. "Why are you leaving?" one character asks another. "I hate the piano," her friend petulantly replies. Another woman greets a gentleman caller thusly: "I cannot receive you, come in." Receiving a gift, this same gentleman remarks that he loves gold; "It's warm, cold, light, dark, incorruptible." And very urbane.
Continue reading: Les Dames Du Bois De Boulogne Review
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