News has just reached me of Claude Chabrol’s death. While working toward my doctorate in English literature, I minored in film; my thesis in this minor was about Chabrol. For most of my film-viewing life, I have worshipped at the shrine of Chabrol’s cinema. A Chabrol film led to the creation of the nouvelle vague; it is Chabrol whom the other members of that group considered the preëminent giant of their group—and he was also the heart of that group: Chabrol was beloved by his fellow filmmakers.

On this blog, entries address many films by Claude Chabrol, the earliest of which is LE BEAU SERGE. If you choose to begin there (Sept. 3, 2007), you may use the entry’s “tag”—Chabrol/Grunes—to get to my other Chabrol entries.

Film critics are sometimes importuned by readers to make movies themselves. Chabrol is one critic who, flipping careers, became one of the world’s most prolific filmmakers, so many of whose films have been brilliant, profound and thrilling beyond measure.

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