Web of Fear (1964) Poster

(1964)

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8/10
Better Than You May Think
info-627-66443916 March 2019
Warning: Spoilers
I just had to write since there was only one other review posted of this film, and I am familiar with Clouzot's work, I found this film, "Constance aux enfers" (AKA: "Web of Fear") although possibly derivative of other films, an entirely powerful "tour de peur" on its own merits. Although it preys on a woman's feelings, I found it a little implausible at times, thinking, why is she allowing herself to get deeper implicated until you realize it is her story and you watch as she puts her self for certain in what she was led to believe. Michele Morgan is the woman, Dany Saval and Simon Audreu are really quite excellent as was the direction by Francois Villiers. Too often you read reviews posted that such and such is excellent, and then you buy into it and are disappointed how awful some well-reviewed films can be, but it is not often one finds something better than the drubbing it received. To write about the difference is what can evoke change. This film is in black and white and was originally released in 1964, although it may have been 1966 when it reached the U.S. Very good film with a woman's heart that is in all of us, who love women.
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Constance goes to hell.She does?
dbdumonteil20 February 2013
Like Clouzot at the end of "Les Diaboliques" ,the director warns the audience: please,don't tell your friends the ending of my story!don't spoil their pleasure!

What pleasure ?The beginning is a pale imitation of "rear window" and the movie continues as a "Diaboliques " rip off ;only the last third shows some originality,so to speak:the average viewer can guess the ending at least twenty minutes before the "unexpected " end .

Why on earth did Michele Morgan get involved in that business?Her character of a lonely widow longing for love verges on ridicule;and anyway how could the young lovers be sure she would be so naive?The supporting cast is either almost unbearable (Dany Saval,Maria Pacome) or bland (the young gigolo).

Even the last "trick" is borrowed from Maurice Cam's "Metropolitain" (1938).

The score includes Vivaldi's "four seasons" and Sidney Bechet's "Petite Fleur"
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