Les innocents aux mains sales
Tags: neo noir, murder

Plot synopsis:
The action takes place in Illyria, a fictional Eastern European country, during the latter stages of World War II. (Illyria was an actual country of classical antiquity, whose territory included modern Albania and surroundings.) The country, an ally of Nazi Germany, is on the verge of being annexed to the Eastern Bloc.
A young Communist, Hugo Barine, is told that Hoederer, a party leader, has proposed talks with non-Socialist groups, including the Fascist government and the liberal- and Nationalist-led resistance. The idea is to set up a joint resistance group opposing the Germans, and plan for a post-war coalition government. Hugo feels that Hoederer's policy smacks of treachery. Louis, another party leader, has decided that Hoederer must die. He grudgingly agrees to let Hugo, who has more commitment than experience, do the job.
Hugo and his wife Jessica move in with Hoederer, who is charming and trusting by nature. Hugo becomes his secretary. Although he tries to convince Jessica that he is in earnest about the murder, she treats the whole thing as a game. Indeed, at first she sees the gun not as a murder weapon but as a metaphor for a phallus, as Hugo perhaps suffers from erectile dysfunction and is unable to please her. Ten days pass and then the negotiations begin with the other parties. With Hoederer coming close to a deal with the members of the class that he loathes, Hugo is on the point of reaching for his gun when a bomb explodes.
Nobody is killed but Hugo is furious. This attack shows that those who sent him do not trust him to do the job. He gets drunk and almost gives the game up to Hoederer's bodyguards. Jessica covers up for him by claiming to be pregnant.
Olga Lorame, one of those who sent Hugo to commit the murder, discreetly visits him and Jessica. It was she who threw the bomb and warns Hugo to get on with killing Hoederer since the others are getting impatient.
So far Jessica has looked at the killing as a game, but the bomb convinces her that things are in earnest and that Hugo will kill Hoederer. She persuades the two of them to argue their points out in order to prevent any killing.
Hoederer's plan is to enter government with the other parties but to leave them with the key ministerial posts. Once the war is over a number of unpopular but necessary policies will have to be implemented in order to rebalance the economy. This will cause problems for the right-wing government, allowing the left-wing, including the Communists, to take over more easily. At the moment, the Communists do not have the necessary support to gain power, and the expected arrival of the Soviet forces may only make things worse. Hoederer points out that people do not like occupying foreign armies, even liberating ones, and the feeling will be passed on to the government introduced by the invaders.
Hugo insists that the party must remain pure. Power is the goal, but Hoederer's expedient methods are not acceptable, especially as they involve collaborating with "class" enemies and lying and deceiving to their own forces. Once they are alone Jessica tries to convince Hugo that he was taken in by Hoederer's point of view, but he twists this around saying that it is all the more the reason to kill Hoederer since he could convince others.
Over time, however, both Hugo and Jessica have succumbed to Hoederer's charm and manner. Although he disagrees with Hoederer's policies, Hugo seems to think that Hoederer could help him cross from boyhood to manhood and sort out his internal conflicts. Hoederer, who is now aware that Hugo is there to kill him on Louis' orders, is willing to help the young man sort out his problems. He is not, however, so keen on Jessica, whose attraction to him seems more physical. When he kisses her as a way of getting it out of her system, Hugo catches them in the act and kills him.
While in prison Hugo receives gifts from the outside, which he guesses are from those who sent him to kill Hoederer. This keeps him going, but some of the gifts turn out to be poisoned chocolates. What's more, when he is released on parole, he finds himself stalked by the party's killers and takes refuge with Olga.
Olga listens to Hugo's version of events. Hugo did not kill Hoederer out of jealousy for Jessica but because he thought that Hoederer was not sincere when he said that he wanted Hugo to stay with him in order to mentor him: "I killed him because I opened the door. That's all I know", "Jealous? Perhaps. But not for Jessica."
Olga concludes that Hugo will be more useful alive than dead. However she also reveals that the policy that Hoederer proposed has been adopted after all. On Moscow's orders, the party has formed an alliance with the other groups. In fact Hugo realizes that the very setup that Hoederer was negotiating in his presence, and which he was supposed to prevent, has been carried out. The whole thing was over a matter of timing: Hoederer's initiative was too premature, so the party had to kill him. Later, after Hoederer's plan was adopted, the party rehabilitated his image and after the war he will be remembered as a great leader and hero.
Hugo is incensed, especially since the party has lied and deceived its own members. The fact that they are at war and have probably saved a hundred thousand lives makes no difference. What matters now, he decides, is that Hoederer should die not for a woman like Jessica but for his policies: because he lied to the rank and file and jeopardized the soul of the party. Hugo decides all the party leaders—Hoederer, Louis, and Olga—are alike. This is why he has been targeted by hitmen sent by Louis.
Hugo realizes that, despite Olga's statements to the contrary, if he remains alive and continues with the party his earlier assassination of Hoederer will mean nothing and bring dishonor. Thus, while Olga tries desperately to save him, it is Hugo himself who lets the killers in to finish the job.

Review: I would like to give this wonderful film more than 7 points but it cannot measure up to the superb 'Helene' group of films Chabrol made during the period immediately prior to it.Many reviews and books are rather scathing about 'Les Innocents aux mains salles', and this disregard, although understandable is largely unfounded.
However by the third viewing a strange fascination and sense of immersion had developed, a state a lover of Chabrol's films will recognise.
Added to this it is a rather good thriller with plenty of plot twists and wrong turns.This film, perhaps because it isn't one of Chabrol's best makes clear to me why he is such a talent.
To clarify this I will point out that no other French director, new wave or otherwise interests me at all and I really think I only have a peripheral interest in film.
Chabrol confounds those who attempt to analyse or compare him and this film is perhaps the best example of this, you can only enter the reality presented, experience and perhaps enjoy..
More twists in the tale than usual, and another excellent film from the great Claude Chabrol!.
Innocents with Dirty Hands appears to have something of a poor reputation among it's viewers and that made me go into it expecting something a bit sub-par from the great French director, so you can imagine my delight when I found that there's very little wrong with this twisted thriller and while it's not quite up there with the best of Claude Chabrol (films such as This Man Must Die, The Butcher and The Breach); it's a thriller that keeps the viewer on the edge of their seat for the duration of the film and provides plenty of shocks and twists along the way!
Louis Wormser is 18 years senior to his wife Julie and can no longer have sex after suffering a heart attack.
When Julie meets young stud Jeff Marle, the two plot to kill Louis and hatch a plan to dispatch him and deflect suspicion from themselves.
However, things go awry immediately after the murder when Julie finds herself alone and under suspicion.The main influence for this film would seem to be The Postman Always Rings Twice as the two plots share a lot in common.
The story has plenty to it and is constantly interesting thanks to the numerous twists in the second half; but it could have benefited from being a bit more streamline as the way it pans out does remove some of the suspense.
The film is bolstered by two excellent performances from the leads; the beautiful Romy Schneider is superb as the young wife while Rod Steiger is thoroughly convincing in the opposite role.
Overall, this is well worth seeing and I'm sure that anyone who enjoys Chabrol's films will find a lot to like in this one..
I was a bit worried at first as after the initial nude appearance of the delectable Romy Schneider, a rather puffy faced Rod Steiger does not look too good.
This twists and turns like some manic giallo and Chabrol does not take himself too seriously, even allowing us to laugh - out loud at one point, that must be a first for me in this directors films.
Claude Chabrol's Les Innocents aux Mains Sale sometimes runs the risk over becoming very, very slow-paced.
The major attraction in this film is not the story, which, I must say, does have some highly unexpected twists and does indeed show Chabrol's creative skills and pleasure in directing.
The star of Les Innocents is no one less than the wonderful Romy Schneider, whose acting performance, charm and beauty in this film are more stunning than ever before.
She is the perfect cast for this complicated Femme Fatale role.Although mainly the mediteranean filming locations in combination with the outstanding weather are to be credited for providing this Film Noir with a deceptively pleasant yellow, warm glow, it is Romy Scheider's radiance and talent that make Les Innocents aux Mains Sales a joy to watch..
Instead of a meticulous recreation of a social group (the rich), we are given careless expressionistic filmmaking using the repertory actors Attal and Zardi (here as buffoonish policemen) plus a name Hollywood actor (Steiger), an Italian pretty-boy (Giusti) and the greatest European actress of her time, Romy Schneider.You know the plot's clumsy when two characters keep having to discuss it at length for the viewer's benefit.
There are simply too many twists and turns for a simple adultery story to bear, so we are left to admire the gracefulness of Schneider's performance.
The impatient judge who finds the beautiful woman suspect very desirable, the eager lawyer who smells a way out for his client--fabulous acting by Jean Rochefort--and the woman herself who hardly says a word while the two men argue over her fate.
Well done thriller - I won't add to the other comments save this -- just so you know -- Rod Steiger and Romy Schneider were filmed speaking in English while all other characters were filmed speaking in French: So, you have two choices (assuming you're either English or French speaking - and not Spanish): Watch the film in French (with or without English subtitles) - but keep in mind Rod Stieger and Romy Schinedier's voices will be DUBBED into French.
It is definitely not Steiger speaking French (although I think Romy speaks both languages) Watch it in English - and the voices of the all other (French) actors (except Steiger and Schneider) will be DUBBED into English.Didn't bother me tooo much...but I'm a Steiger fan - so I needed to hear him speak in his native tongue..
A Great Film-Noir with Many Twists.
In Saint Tropez, Julie Wormser (Romy Schneider) is a beautiful and sexy young woman married with the wealthy retired businessman Louis Wormser (Rod Steiger), who is eighteen years old older than she and infatuated on her.
When Julie meets her handsome neighbor Jeff Marle (Paolo Giusti), a mediocre writer that likes to fly kite, they have a love affair.
"Innocents with Dirty Hands" is a great film-noir with many twists, maybe more than the necessary.
Directed by Claude Chabrol, the mystery in the original screenplay recalls a Hitchcock film or an Agatha Christie's novel, and nothing is what seems to be.
The whole bourgeois world that Chabrol so often chastised is here, with unforgettable roles by Romy Schneider, Rod Steiger, and Jean Rochefort.
The opportunity to see Romy Schneider naked in the grass already justifies itself to watch this movie directed by Claude Chabrol,I never liked those European movies called Nouvelle Vague...whose the director came from...but this kind of suspense is amazing a true Hitchcock's movie....the plot is usual the pretty young woman married with a rich old man finds a lover,the result is predicable....but Chabrol provides some surprises along the story...the cast is fine as Rod Steiger and Jean Rochefort,but no one exceed Romy she is sexy than never and desirable....valuable movie settled in Saint Tropez..
Much has been said about the plot and the actors of the film, I won't go into it in more details, just give a few personal impressions.First of all, the film has excellent actors in the main roles, Romy Schneider, Rod Steiger and Jean Rochefort being absolutely brilliant, every single one in very memorable roles.
However, there are also, inexplicably, weak actors such as Paolo Giusti (one of my previous commentators has already stated this correctly) which lead me to believe that Claude Chabrol really was not up to his great level in this film.
Whatever it was, something is definitely wrong, the camera angles and shots, the story, how the plot is linked - you watch the film, it sucks you in, but leaves you with a strange feeling of unfilled expectations!
Unforgettable, how, at the beginning of the film, he plays the "impaired", soon-to-be-betrayed husband of a too beautiful wife.
Romy Schneider spoke both languages in the English and the French version.
All cinephiles know the French cinema to excel in the art of direct sound recording and captivating the original actor's voices marvelously.
Why not have chosen all-French actors and make another one of his great films?
Let me leave aside the glamour coefficient of Romy, which was in large measures in this movie, she looked glamorous even in a prim suit here, and it was no wonder that every one was making a pass on her, from the judge, to the defense lawyer to her husband's best friend, and becoming her mortal enemy when she rebuffed them and that is the basic crux of the story.
This is a story more into study of human sexuality, or rather a man's and as pointedly told in the end "It's a man's world, where all the law's are made by man" The main two character around whom the story revolves are the spouses Wormser (Romy and Steiger) and their problem is the lack of physical relationship due to the husband's health, first we are made to belief it was his heart problem, and later told that he was impotent, it was one of those, or something else, wouldn't be divulged till the end.Anyway lack of physical relationship (for couple of years by then), the young and glamorous wife falls in the arm of a young pulp-fiction-writer, and they plan to murder the wealthy husband, frame it as an accident, and then legally walk off with the money.
As some have pointed out, there had been twists and turns, including resurrection, but that didn't create too much of aberration, and rather brought the story to a some-what predictable end, without surprises.
The films of Claude Chabrol are, more than those of any other director, highly unnerving.
The beautiful Julie, is married to overweight, rich, impotent, drunk, self-loathing Louis Wormser, and plots with her young hack writer lover, Jeff Marle, to kill her husband.
Things generally go to plan, but Jeff panics and lies low in Italy, sending Julie letters, while she has to face the insinuating investigations of two detectives.For a director of his intellectual reach, Chabrol shows a strange affinity for Golden-Age style mystery stories.
Unlike the fiction of Pynchon and Borges, or the films of Bertolucci and Antonioni, he has no interest in formally deconstructing the mystery story, subverting its narratives, ironising its principle characters, obviously undermining its tenets (although his double act of Epicurean detectives, teasing out the crime like cross word puzzles over dinner, making lecherous jokes and misogynistic comments, unbelievably hitting on solutions, yet completely missing the point, are a comic, disturbing joy, as are the upturned faces of the Law searing Julie at the climax).
It is perfectly possible to watch INNOCENTS as a straight thriller with a recognisable crime, investigation and solution, and plenty of excellent twists and turns.Even on this conventional level, the film is unnerving.
Chabrol's is different.Although not as breathtakingly formal as LA DECADE PRODIGEUSE, INNOCENTS is highly artificial, from the stylised acting, the unrealistic dialogue, dissonant score and stunningly contrived plot, to the breathtakingly intrusive camera movements and alienating shifts in point of view, and, especially, the setting, the futuristic/modernist architecture which swallows up its characters; the decor that moves and closes in on them.
We are shown quite clearly how a female protagonist who is in almost every frame of the film, who seems to be in control and driving the plot, is completely betrayed by men - husbands, lovers the law - an object of contempt, whose desires are made seem guilty, whose grasping for love in a chilling, loveless evnironment and marriage are reduced to petty motives.
First, as another reviewer pointed out, the two leads (Romy Schneider and Rod Steiger) do their parts in English and the rest of the cast are speaking French--making it irrelevant whether or not you watch the French-dubbed or English-dubbed version.
However, and this is odd, you probably should NOT watch the film with captioning, as the subtitles are inferior to both dubbed versions!
But boy were those subtitles annoying--even getting little details wrong.As for the film itself, through the first half of the film, it all seems pretty familiar--especially for a tale directed by Claude Chabrol.
Romy and boy-toy, Jeff, begin a torrid affair as the husband (Steiger) drinks himself to oblivion.
Eventually, the lovers come up with a plan to murder Steiger and live off his fortune.
Unfortunately for the lovers, the plan goes awry but it isn't certain exactly what happened--all we know is Romy is now being blamed for possibly killing BOTH men, as there isn't much trace of them.When Steiger returns later and is indeed alive, this created a wonderful opportunity for the film, as Romy suddenly found that her formerly impotent husband is very potent indeed and their dead relationship is rejuvenated.
Unfortunately, while this was where the film was going, the movie had an additional 30 minutes of plot twists that did a lot to confuse everything and make the story much more difficult to believe.
I strongly agree with the review that saw this film as needlessly complicated--a problem common to many of Chabrol's films.Finally, a note to parents that this isn't a great film for kids due to its sexual nature and nudity.
"Les Innocents" was released at a time when Chabrol's career was slowly but inexorably slipping..Among a handful of horrors ("nada" "Les Magiciens" and the nadir "Folies Bourgeoises" ),before Chabrol regained his mastery with his underrated "Alice Ou La Dernière Fugue" or "Violette Nozières" ,but only for a while.Except for the 1968-1971 period or his debut,Chabrol's career has been erratic ,mainly because he has made too many films ."Les Innocents" inaugurated a new genre for Chabrol,which actually began with "Docteur Popaul": a tongue-in-cheek thriller ,it paved a reliable way for such works as "Inspecteur Lavardin" "Masques" "Poulet Au Vinaigre" or "Rien Ne Va Plus" .None of these works were major works but some of them (particularly "Masques" ) are pleasant enough.A foreign viewer may take this story seriously ,compare it with Bresson (!) but a French one cannot be fooled.Chabrol actually laughs at the audience as he laughs at Julie: although a criminal,Julie almost appears as a victim....of men of course as Lawyer Mr Legal (what a name!) says .We come to pity Julie (the scene in the bank where she learns that all the money she has left is 92 francs is priceless)and her character sometimes resembles that of Stephane Audran in "la Rupture " ,this great 1970 work.With its spate of "unexpected " twists ,"Les Innocents " may seem today ahead of its time.But not only "Alice ou La Derniere Fugue " which had only one (unexpected twist) packed a real wallop -in the grand tradition of "carnival of souls" "Jacob's ladder" and "the sixth sense"-,those of "the innocents do not make sense cause the characters are uninteresting (Do you care for them as you did for the characters of ,say,"le Boucher" or "Que La Bête Meure" ?)and RomySchneider ,one of my favorite actresses ,does not belong in Chabrol's world.Neither does Rod Steiger.Only Mischievous Jean Rochefort and the pair of Colomboesque cops (Pierre Santini and François Maistre who play cat and mouse with Julie)really survive in this hotchpotch..
They both longed to work with each other for many years, but when it finally happened in 1974, Romy Schneider and Claude Chabrol failed miserably.
"Les innocents aux mains sales" is a low point of both their careers, a slow-moving and unconvincing film that meanders somewhere between crime story, sex drama, baroque thriller and social study."Les innocents" pairs Schneider and Rod Steiger as Julie and Louis Wormser, a rich couple living in a grandiose villa in the Southern part of France.
One day, Julie meets Jeff Marle (hunky Paolo Giusti), a writer and neighbor who flies kites and shows eminent sexual interest in her.
Of course, something goes wrong, and a supposedly dead Rod Steiger suddenly stands on the doorstep again, ready to take revengeSchneider solidly acts her way through the 125 minutes of Chabrol's mystery, and certainly she's prettier than ever, but you don't get to see the passionate performer that made films like "L'important c'est d'aimer" or "Les chose de la vie" so unforgettable.
As a matter of fact, Romy seems obviously bored and out of place, and she doesn't watch with either Steiger or Giusti.
"Innocents With Dirty Hands" could perhaps be described as Claude Chabrol's variation on the classic French thriller "Diabolique".
But it's a refreshingly adult, constantly twisty, sometimes creepy, morally complex thriller that challenges its viewers by giving them characters (the central love triangle, the two cops, the financial adviser) who are not easy to like, and who through the process of the movie reveal that they are not who they first appear to be.
The one likely audience-pleasing character is the quick-thinking lawyer Albert Legal; Jean Rochefort gives a flamboyant performance and nearly steals the show in about 10 minutes of screen time.
At first you may fear that Rod Steiger will feel out of place in a French film, but somehow he fits right in.
And between Romy Schneider, the St.Tropez locations, and the big beautiful house with a view where most of the action takes place, your eyes will usually have something to get fixed on.
Chabrol merely uses this as a jumping-off point and is soon introducing more twists than a hairpin bend on that very Riviera that forms the setting (St Tropez).
The strongest factor is Romy Schneider as the wife and Chabrol has had the good taste to include her in virtually every scene.
Rod Steiger as the husband plays Rod Steiger but that isn't necessarily bad but the weakest link is definitely Poalo Giusti, who has to be the most wooden actor since Laurence Harvey, as the stud cum assassin and for good measure Hitchcock buff Chabrol has thrown in a comic couple who clearly had their genesis in Basil Radford and Naunton Wayne in Hitch's The Lady Vanishes but are now transformed into a Greek Chorus of cops.