The American remake was released on screens a year ago. I did not get to watching it yet, and I'm not sure if I will soon. 'Eaux profondes', the 1981 adaptation of the novel 'Deep Water' (this is also the name of the film in its English distribution) by Patricia Highsmith is too good a film to risk changing my impression. The director is Michel Deville, the French director who left us a few weeks ago, and the lead roles are played by Jean-Louis Trintignant and Isabelle Huppert. 'Eaux profondes' is an excellent opportunity to see again Trintignant (who also disappeared last year) at the peak of his career, Huppert (who turned 70 a few days ago) while becoming a star and at her supreme physical beauty, and to appreciate Deville's professionalism and inventiveness in the decade in which he directed his best films.

The story in the American writer's novel is moved to the island of Jersey, a territory of the British crown located about 19 kilometers from the coast of France. The landscapes are, of course, spectacular, and the location is also a good opportunity for Michel Deville to shoot in British objective-realist style. Vic is a perfume maker, his wife Melanie is many years younger and the couple have a six-year-old daughter. Apparently they are a happy couple and a very liberal one in their behavior. Melanie openly flirts and dances at parties with the men she meets, under the indulgent gaze of Vic, who prefers to read, play chess with himself, and raise snails in his garage. When Melanie's adventures begin to materialize, Vic begins to react in an original way - he threatens his rivals with murdering them. From threat to deeds the road is not too long, and crime can be the best proof of love.

What we see on the screen is a real hell, if we judge the relations between the two spouses according to the accepted norms. Michel Deville films everything in an objective and detached style. The characters hide a lot of darkness and many details remain incompletely clarified. Why is Melanie acting this way? Boredom, Ana Karenina syndrome or the feeling that the relationship between the two has reached an impasse that cannot be overcome? How should we interpret the ending, which is changed from that in Patricia Highsmith's novel? The audience's feeling of discomfort is accentuated by the excellent soundtrack that combines dance music, aggressive jazz and Manuel de Falla's harpsichord concerto, but also by the presence of the little girl who witnesses many of the conflict scenes. Michel Deville has created a cool and unsettling film, one that viewers won't soon forget.

Classic French art-house mystery thriller for the wine n cheese crowd. Young trophy bride (Huppert) flirts and attracts numerous young swains. Husband warns each of possible consequences. Those who heed, flee. Those who abide, however ... Challenging in that the viewer never knows the relationship between husband and wife, or how much friends and neighbors (island of Jersey) turn a blind eye to Measured pace (for modern viewers, read slow) that delivers unexpected jolts. Warning, there is violence in this film, and it bursts seemingly out of nowhere. Jean-Louis Trintignant unforgettable as the multi-layered husband. Based on Patricia Highsmith (Ripley stories) novel.

After the earthy Neo-Noir Coup de torchon (also reviewed) exceeded all my expectations,I decided to see if lead actress Isabelle Huppert made any other titles in 1981. Always looking out for Patricia Highsmith adaptation since seeing The Talented Mr. Ripley in the early 2000's,I was thrilled to stumble on an adaptation with Huppert,which led to me dipping into the pool.

View on the film:

Drawing every guy with her gaze, Isabelle Huppert gives an entrancing performance as Melanie,whose flirting Huppert gives a relaxed nature to,which Huppert sharply balances by giving Melanie icy, Femme Fatale nails that scratch at Vic's attempt to stop Melanie getting her "toy."

Watching his wife make out, Jean-Louis Trintignant gives a wonderful performance as Vic,who initially acts just a bit too friendly towards everyone. Keeping the anxiety in the marriage simmering away, Trintignant shatters Vic's calm with a calculating Noir loner manner that uncoils as Vic gets Melanie's lovers in his grasp.

Backed by a deliciously brash Jazz score,co-writer/(with Florence Delay and Christopher Frank) director Michel Deville & cinematographer Claude Lecomte whirl Film Noir chic with the dazzling style of the Giallo. While Vic and Melanie hit a dark stage in their marriage, Deville lashes the screen in vibrant reds and Giallo yellow that give the title a sweet pulp atmosphere.

Cracking the relaxed shell of Vic, Deville hits the screen with ultra- stylised,scatter-shot whip-pans and razor sharp editing stabbing the murderous calculations Vic has made.

Swimming in Patricia Highsmith's novel,the screenplay by Delay/ Frank/Deville cleverly give the couple a "free love" appearance for the opening,which subtly pulls the viewers guard down. Slicing into the Noir decay of the marriage,the writers brilliantly burn layer by layer the facade Vic has made Melanie believe,as Vic sets his sights on the designated victim.