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precise option for cast. not original policier. but the unique art of characters definition. and a nice story. the vulnerability of Anne Brochet, new version of Audrey Hepburn, the charm of Philippe Niret, the flavor of mysteries old tales are pieces of a very interesting mechanism. nothing surprising, nothing complicated, only visual crime novel created in the limits of classic rules. image of each character - little jewel in Chabrol style, delicate intrigue and the precious details are elements of fine clock. and inspired ingredient for atmosphere. an old fashion movie and little more. maybe, a delight or just provocation for public.that is all.

I have to hand it to Claude Chabrol. He certainly has an eye for casting his leading ladies. For 'Masques', here we have Anne Brochet in her first feature film. From the moment we first lay eyes on her, she comes over both mysterious and enigmatic. Chabrol cleverly does not allow us to see her eyes -- she is wearing sun glasses due to still convalescing from a past medical condition. When her eyes are finally revealed, we indeed see Chabrol's casting astuteness. Oh-La-La ... such wonderful peepers. Brochet is very reminiscent of Emmanuelle Béart here.

This is one of the more conventional mystery/thrillers from Chabrol. Essentially a detective story of Roland, who's sister has disappeared in mysterious circumstances. His investigations lead him to her last known whereabouts -- the country home of game show host Christian Legagneur. Roland poses as a journalist under the pretext of interviewing Legagneur for a book. Here he meets, and falls in love with, Legagneur's god daughter Catherine. Is it she who holds the key to the disappearance of Roland's sister? Watch the film to find out.

'Masques' is probably not one of Chabrol's finest but interesting none the less. Certainly worth a look for both Anne Brochet as the child like Catherine and Philippe Noiret's wonderfully over the top performance as the game show host. As in all Chabrol films, people are never quite what they seem. Unfortanately, the villain of the piece is revealed a tad too early in this one. To be fair tho, Chabrol does salvage the film in the final act.

Full of the usual fair of fine food .. fine wine .. and a few cigars smoked. Worth a look.

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At a time when skeletons were being found in the cupboards of a number of well-known celebrities in France, Chabrol created this film which asks the simple question: what lies beneath the mask of an apparently pleasant and sugar-sweet public figure? Can such a person be utterly wicked, capable of fraud, deceit - even murder - and get away with all that unnoticed? How far can the public image and the private reality differ?

For the subject of his analysis, Chabrol could hardly have chosen a better actor than Philippe Noiret. In his role, Noiret is so successful that it is virtually impossible to believe that his character could harm a fly - until the truly disturbing scene when his daughter shows him a bird in a cage, triggering a phobic reaction that causes the mask to slip - albeit for just a moment. After that, the mask stays firmly in place, until the last possible moment. But when the mask does fall, as it has to, and Legagneur turns on his television viewers, we see the truth in an instant and ask ourselves: how could we have been so blind? More disturbingly, we begin to question - as Chabrol intended we should - whether any real-life TV presenters have similar dark secrets.

Whilst not quite in the league of some of Chabrol's other thrillers (most notably the superb La Cérémonie), Masques is a film which does have some gripping moments and some sparkling dialogue. The ending is as funny as it is tragic, and, as a thought-provoker, it achieves its objective a little too successfully. I for one will never be able to watch a silver-tongued TV presenter again without thinking: what lies behind this mask?

The eighties were not that much a great time for Claude Chabrol.Most of the works of this era ,either have not worn very well (les fantômes du chapelier,poulet au vinaigre) or were not themes for him anyway (le cheval d'orgueil,Patricia Highsmith's "le cri du hibou")

"Masques " is probably his best since "Violette Nozières" (1978) and nearly matches the brilliance of the late sixties/early seventies heyday.

Completely unpretentious,it's full of humor,suspense and of course gastronomy (is there a Chabrol movie where they do not eat?).A marvelous spoof on these numerous TV shows which take dumbness to new limits, a detective story,this movie is much fun to watch.

Philippe Noiret,overplaying as hell -and he's thoroughly enjoyable-,plays the emcee of a broadcast for old people who sing songs of long ago,("les roses blanches" ,the most maudlin song of the whole French repertoire,crooned by an old man, can be heard on the cast and credits).By no means a caricature, because, we've seen worse on French TV.

And to crown it all,the host uses "HItchcock presents " music to enhance his horrible show.And that's not all!Philippe Noiret's character is Mister LEGAGNEUR (GO-GETTER)

The emcee is so full of himself he asks a young novelist (Renucci) to write his biography.They are to work in the country in Legagneur's desirable property,complete with court and chef .A delightful gallery of weirdoes hangs around:A couple,Roger Dumas ,a wine connaisseur, and Bernadette Laffont,who enjoys reading someone's cards and less commendable things -to think that Laffont was featured in Chabrol's very first ,"le beau Serge" ,in 1958!-;a deaf and dumb chauffeur;two strange servants, one of them relishes with Charlotte Armstrong's detective stories-like Chabrol ,who adapted this writer twice :"la rupture" (1970)and "merci pour le chocolat" (2000)-;and,last but not least,a strange girl (Brochet), Legagneur's goddaughter(sic).She seems very sick,or maybe someone helps her to be sick?

Actually nothing is what it seems .Everybody hides himself behind his mask,including the director ,who puts on his Chabrol mask this time.

Intriguing, somewhat old-fashioned thriller where no one is quite who he seems to be (though the revelations in themselves are hardly astounding); for what it is worth, I had to make do here with a TV-sourced version sporting French subtitles! In any case, the film virtually hinges on Philippe Noiret's excellent central performance as a larger-than-life TV presenter with a weakness for luxury. Evoking Walter Matthau to a striking degree, he manages all of the protagonist's various facets (transmitting in this way his talent for manipulation) – going from the charm he exercises on audiences and collaborators alike, to the tenderness he demonstrates towards his young female charge (whom he ostensibly took on out of compassion after both her parents perished in a car crash), the ruthlessness he eventually adopts in order to achieve his goals, and ultimately the breakdown he suffers 'on air' exposing him for the contemptuous bully he really is.

The plot sees a young reporter apparently approach Noiret for the purposes of writing his biography (he is actually investigating the disappearance of a woman who had been the old man's guest). At the latter's country-house, he meets and is attracted to the girl (leading a sheltered life due to her 'delicate' health), who even reciprocates his feelings – to Noiret's obvious chagrin (incidentally, Chabrol resists making him a lecher since he is only after the heroine's money). Bland Robin Renucci is only adequate as the amateur detective, but Anne Brochet's classical beauty (looking quite a bit like Emmanuelle Beart!) is ideally suited for the rather melancholy girl he determines to save from the evil clutches of her guardian. Also involved is Bernadette Lafont (middle-aged but still looking good and with hair dyed blonde) as a hanger-on at Noiret's estate who professes to tell fortunes.

MASQUES basically resolves itself in a battle-of-wills between Noiret and Renucci (and eventually the former and Brochet, when it finally dawns on her that what the young man – and the lady who went missing – had been telling her all along was true). In its expose' of bourgeois double standards and numerous scenes of carefully-built suspense, then, the film emerges to be extremely typical of its director (as well as being reasonably representative of his vast body of work).