Best movie of this year hands down!

Brilliant and touching

Absolutely the worst movie.

An old-fashioned movie made with new-fashioned finesse.

George (Alain Delon) awakens in a hospital. It seems he was in a bad traffic accident and nearly died. His wife, Christiane (Senta Berger), was apparently unhurt. After a long recovery, he is sent home to his mansion--a place he doesn't recognize. In fact, he doesn't really recognize his wife! What gives? Was the accident THAT bad or is something going else afoot? Unfortunately, the more he starts to remember, the more his life might be in danger! Which isn't a surprise, since the film is entitled "Diabolically Yours"! This film directed by Julien Duvivier is one giant mind game--on both George and the audience! All during the picture, like George, you are wondering what's really happening and who can be trusted. I like this sort of paranoid film--and it kept me guessing, that's for sure. And, considering how few films manage to do this to the viewers, I really appreciated this film. Interestingly, the film could have worked well either way--that George really is crazy or that some bizarre conspiracy is occurring. Either way, the film is great and I strongly recommend you see it. And, based on its IMDb score, I'd say this was was underrated.By the way, this film has some similarities to the Hollywood B-movie "My Name is Julia Ross" as well as an earlier Delon film, "Joy House"--both are also well worth seeing.

"Diabolically Yours" uses the same tired old trope that dozens of other films from the 1930s onward have employed: a man wakes up in a hospital, not sure who he is, but suspecting that he's not who everyone says he is. If that man is the film's protagonist, we need to develop empathy for him. And the surest way to thwart any empathy is for the plot to make him a fool.Why would a man who began by being suspicious of the story he was being set in, and who found more things to be suspicious of at every turn, keep reacting in the most foolish and trusting way? In the interest of not giving spoilers, let me just say that you or I, finding ourselves in his position, would've behaved far more sensibly than Alain Delon's character does here. The real fault lies in the plot for simply recycling a predictable story line and requiring stupidity of the "hero" in order to make it play out.The film does offer two concession prizes: some appealing cinematography in the 1960s Eastmancolor process, and a cracking jazz score by François de Roubaix.

To commit murder according to a well thought out plan and not be found out. That is the intriguing theme of this film. The perfect crime, you might say.Madame Christiane Campo with the help of Freddie (her doctor and lover) murders her husband Georges and buries him in the garden of her sumptuous mansion. Freddie has an amnesia patient recently involved in a car accident. When the man gains consciousness he is told his name is Georges Campo and he is married to Christiane. She takes him home to her mansion and Doctor Freddie supervises his recovery.An intriguing situation arises. On the one hand the patient now called Georges is trying to remember any aspect of his former life and on the other hand Christiane and Freddie insist that he is Christiane's husband and that his nightmares. dreams and uncertainties are a result of the accident.The plot thickens. Georges is introduced to a home decorator who advises on changes to the mansion. Thus the decorator is a witness to the fact that Georges is still alive. The plan now is to ensure that Georges the impostor must die either through accident or suicide.The plot is full of holes. Various devices are arranged so that Georges will meet with an accident but all fail. Even a savage dog is employed to attack him. Actually the dog's behaviour confirms for Georges that all is not as it seems.Freddie suggests to Georges that madness is a terrible thing. Freddie makes sure there is a pistol in George's bedside drawer hoping he will take his own life.Like most thrillers all is conveniently resolved in a final scene involving Freddie and a rather sinister Chinese servant with desires on Madame Christiane.Alain Delon gives a creditable performance as usual and the rest of the small cast likewise. If you don't analyze the film too closely you will probably enjoy it.It is said that crime does not pay. Having seen this film I am having second thoughts. It sure is a beautiful mansion and Christiane looks very promising too.

One never knows the truth of this thriller until it nearly ends, even when it is already over everyone is free to imagine the fate of the survivors. A person, supposedly George Campos (Alain Delon), had an a car accident and is hospitalized for a while. When he recovered his conscience he does not recognize his wife Christiane (Senta Berger), his friend Freddie (a psychiatrist) and all his properties. In that situation he acknowledged the beautifulness of his wife and decided to have sex with her, but she always unreasonably prevented it. Time passed and slowly George Campos remembered his real name, Pierre Lagrange. The psychiatrist warned him that he himself is G. Campo, but the latter had already no doubt of being poor ex-soldier Lagrange. One of the reasons was that his supposedly dog did not ever recognize him. He decided not to take anymore the recommended pills and discovered all truth. Among the thrillers in the French cinema this is perhaps one of its best.