Claude Chabrol

摘要

"Right from its opening," wrote the young critic in a 1955 Cahiers du Cinema review, "Rear Window does present an immediate focus of interest that puts it on a higher plane than the majority of [Alfred Hitchcock's] earlier works, enough to warrant its entry into the category of seri-rnous films, beyond the mere entertainment thriller." The title of Claude Chabrol's essay was "Serious Things," itself an assertion that the loftiest cinematic artistry could reside in a mere thriller-either Hitchcock's or, when the critic became a director a few years later, his own.