"Innocents With Dirty Hands" could perhaps be described as Claude Chabrol's variation on the classic French thriller "Diabolique". It's not a perfect movie: it's long and talky; the plot has some extreme "conveniences"; the final shot is a bit of a WTH. 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. Beware of a harrowing physical attack scene near the end, though. **1/2 out of 4.

Top notch Chabrol! 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. His being dubbed does not help but soon enough with such a fast moving tale, any misgivings are forgotten. 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. I'm sure if analysed carefully there are plot holes but it is clever, involving and very enjoyable. It can also be taken very seriously as Schneider' s character as the only female, takes a little more than the 'male gaze' from everybody else in the film and the varying relationship between the two leads is as puzzling as the film itself.

Chabrol just can't be bothered with mcguffins and creating suspense, that's where he differs from Alfred Hitchcock. 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's a murder scene using some sort of club that falls completely flat in dramatic terms. 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. She is a trophy wife who must start to make decisions on her own, in the absence of her husband and her lover; she must also learn to lie convincingly to suspicious detectives. The eroticism of the lovemaking on the livingroom carpet, taunting her frustrated husband is well evoked.The interrogation before the judge is the one scene that really holds up dramatically. 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. The only such scene I can recall with this power is the one in Altman's The Player.

more important than the carefully analysis of a wife/husband relationship gone sour, with a cunning game between the husband and the wife's lover, is the magnificent depiction of the relationships between a number of characters. The whole bourgeois world that Chabrol so often chastised is here, with unforgettable roles by Romy Schneider, Rod Steiger, and Jean Rochefort. Sum-up: Film's photography is neat; Justice... has got "dirty hands".