To begin with, this is one of the rarest Chabrols as well as a key early effort. For anyone who hastily pinned him down as the French Hitchcock, this shows yet another facet to his 'personality': if THE CHAMPAGNE MURDERS (1967) saw the director take a leaf out of Fellini's book, here he seems to be influenced by the work of Antonioni – complete with a faux-thriller plot (evoking in some aspects Patricia Highsmith's "The Talented Mr. Ripley", actually first brought to the screen in 1960 by the French as PURPLE NOON) which, owing to the protagonist's enigmatic behavior, progresses gradually into semi-abstraction!
Having mentioned that later Chabrol, the movie under review likewise allows Stephane Audran an unprecedented central role which she carries off with aplomb. Incidentally, even at this preliminary stage, her future husband's thrillers were peppered with sudden shocking murders (as both WEB OF PASSION [1959] and LES BONNES FEMMES [1960] will attest) – and the climax of this one is, undeniably, superbly handled.
The hero – played by virtual unknown Jacques Charrier – supplies the right mix of blandness and arrogance the part requires. Similarly, Jean Rabier's gleaming monochrome photography notwithstanding, the picture counters its essentially rough-and-ready quality (in pure "New Wave" style) with a quite remarkable incisiveness (particularly in the noir-ish dialogue).
At a mere 77 minutes, THE THIRD LOVER (better served by the original title L'OEIL DU MALIN, which translates to THE EVIL EYE – a moniker later also attached to two, obviously unrelated, Italian giallos!) does not overstay its welcome. In hindsight, if back then the film's inherent pretentiousness may have alienated critics and audiences alike, it can now be seen as a shining example of Chabrol's burgeoning talent.
Having mentioned that later Chabrol, the movie under review likewise allows Stephane Audran an unprecedented central role which she carries off with aplomb. Incidentally, even at this preliminary stage, her future husband's thrillers were peppered with sudden shocking murders (as both WEB OF PASSION [1959] and LES BONNES FEMMES [1960] will attest) – and the climax of this one is, undeniably, superbly handled.
The hero – played by virtual unknown Jacques Charrier – supplies the right mix of blandness and arrogance the part requires. Similarly, Jean Rabier's gleaming monochrome photography notwithstanding, the picture counters its essentially rough-and-ready quality (in pure "New Wave" style) with a quite remarkable incisiveness (particularly in the noir-ish dialogue).
At a mere 77 minutes, THE THIRD LOVER (better served by the original title L'OEIL DU MALIN, which translates to THE EVIL EYE – a moniker later also attached to two, obviously unrelated, Italian giallos!) does not overstay its welcome. In hindsight, if back then the film's inherent pretentiousness may have alienated critics and audiences alike, it can now be seen as a shining example of Chabrol's burgeoning talent.