The Adultress

1953 [FRENCH]

Crime / Drama / Romance

IMDb Rating 7.3 10 1445

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Uploaded By: FREEMAN
December 04, 2021 at 05:11 PM



Raf Vallone as Laurent
Simone Signoret as Thérèse Raquin
981.54 MB
fre 2.0
23.976 fps
1 hr 46 min
P/S counting...

Movie Reviews

Reviewed by MartinHafer 9 / 10

Similar to "The Postman Always Rings Twice" but better.

When "The Adultress" (a.k.a. "Thérèse Raquin") begins, you soon see a big problem. Young Thérèse (Simone Signoret) and her wimpy husband Camille live with his mother--and this mother babies him and dominates the household. This awful woman insists that it's a woman's duty to serve her husband and romance has no place in marriage! The marriage is clearly a ponderous existence. It's obvious any sane wife would soon get sick of this sort of nothing life--and, not surprisingly, Thérèse does, though she does not yet realize it. It all begins to change when a virile working-class man, Laurent (Raf Vallone) brings the husband home one night when the husband is drunk. Laurent and Thérèse meet and things slowly begin to smolder. And, like in "The Postman Always Rings Twice", the lovers decide they cannot continue like this--and eventually they do away with Thérèse's emasculated husband. Of course, that's not the end of the story.

While you might think the film borrowed from James Cain's novel, the story is actually much older (and Cain might have been inspired to write "The Postman Always Rings Twice") and is from an Emil Zola novel. The parallels are certainly obvious. However, in "The Adultress" you actually feel sorry for the wife and given the awfulness of the husband and his mother, you CAN sympathize and almost excuse the killing--especially since it was not premeditated. In the other, however, the wife is essentially an awful conniver and the husband, though old, is a decent and loving man. I actually think the way "The Adultress" constructs the story this is better, as it's much easier to connect with the characters and care about their fates. You don't so much excuse their actions but understand and empathize a bit for them. Plus, Thérèse is the opposite of Cora (from "The Postman")--she DOES have a conscience and she is not exactly evil.

Overall, "The Adultress" is an excellent film with exceptional performances. I also loved the moral ambiguities about the film--ambiguities that make the viewer think. I also appreciated the very unusual and very surprising ending--it's worth it!

Reviewed by Hitchcoc 7 / 10

Contrived, but So Was the Book

Emile Zola wrote page turners. He focused on the injustices of the great unwashed of France, from miners to prostitutes. His books were incredibly naturalistic and moralistic. His characters seldom came through unscathed but made a statement about the cultural milieu of the time. This is a story about passion. Therese Raquin is the wife of a tiresome mama's boy hypochondriac. She is beautiful and is married to this childish wimp. Along comes the handsome truck driver after she has spent six empty years with this guy. They have tryst and even let the husband know that he is going to lose his wife. Everything changes when, on a train trip to Paris, fate takes over. Granted, there are lots of plot contrivances, but that's the literary style of the period. Also, in the naturalist tradition, the characters often lose control of their destinies. There is a broader moral sense that trumps the likable ending that people are used to in movies made at this time. The writer and the director can't turn their backs on issues like these and so life goes on and the impulsive and evil are punished alike.

Reviewed by dbdumonteil 8 / 10

The last great Carné.

People generally think that Carné's heyday comes to an end with "les portes de la nuit" (1946)And it's sure that- whatever the new wave's view on the matter-these thirties and forties movies are among the very best French cinema gave to the world("le jour se lève" "quai des brumes""les enfants du paradis" and "hôtel du nord" ,to name but four are the crème de la crème ,easily equalling the best of Renoir)One always tries to minimize Carné's importance,mentioning the actors (Gabin,Arletty,Simon,et al)and Jacques Prévert's screen plays.One often forgets that Carné did direct these masterworks and he always chose the right actors,decorators(Alexandre Trauner who was to work in Hollywood later),musicians,with mind-boggling results.

"Therese Raquin" (1953)came before the new wave but Carné 's credibility was sinking fast and he was given the coup de grace by his young "nouvelle vague" colleagues -before being restored to favor after 1980,actually after he stopped directing ."Therese Raquin is a fine mixing of pre and post -war elements

Pre-war:the lovers' impossible dream,fate -here represented by a young sailor-,scumbags who cannot stand true love-the scene on the train between Raf Vallone and Jacques Duby recalls the famous one between Jean Gabin and Jules Berry in "le jour se lève" (1939) particularly when Vallone screams"are you gonna shut your mouth?"(the lines are almost the same).

Post-war:the influence of the film noir-which was influenced by Marcel Carné's work mainly "le jour se lève"-who cares if it's a Zola adaptation?:the scenarists have transposed the action to the fifties,to the era of the making of the movie,and James Cain could have written it as the story reminds the spectator "the postman always rings twice:more than Tay Garnett's excellent version(1946),"Therese Raquin" is actually closer to Luchino Visconti's (Ossessione,1942),because of the Italian Raf Vallone's presence.

But in spite of the transposition,Zola's spirit remains intact:the stifling petit bourgeois milieu in which Thérèse (Simone Signoret)lives is meticulously depicted:the notions store ,the walk on the Rhone banks,the ludicrous board game,the dreadful mother-in-law(Sylvie is absolutely extraordinary;after she suffered an attack after her son's death,she's completely paralyzed ; only her eyes (her frightening eyes) are alive,accusing her daughter-in-law:Cain's eye in the Bible.In her over possessive part of a mother who has turned her only child into a poor guy,a sissy,Sylvie surpasses the excellent Signoret and Vallone.

No,Carné's career was not over in 1946,but after "Thérèse Raquin",the slump began:""les tricheurs" (1958)tried to catch up with the nouvelle vague with mixed artistical results,but has remained watchable."Trois chambres à Manhattan" (1965)was moderately interesting,thanks to its stars ,Maurice Ronet and Annie Girardot.After,it's downhill:"les jeunes loups" (1967)is a would be "a la mode" bomb,"les assassins de l'ordre"(1971) tried André Cayatte's style ,not exactly the right move and "la merveilleuse visite"(1973) failed dismally(as in "les visiteurs du soir",(1942),Satan sent two people,it's God's turn who send an angel!)

"Thérèse Raquin" should not be missed.You won't be disappointed .

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