Wow! Such a good movie.

Waste of time

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

It was out of sheer coincidence that this viewing followed those of Chabrol's JUST BEFORE NIGHTFALL (1971) and THE BREACH (1970) since it has thematic similarities with the former, while adopting an incongruously stylized approach as the latter! In fact, we have here a strangling (which, however, is a flashback this time around and occurs towards the end rather than at the very start) that is almost a replica of the one in JUST BEFORE NIGHTFALL. Similarly, the culprit is depicted as being unable to find peace of mind (and, in this case, stop his crime spree) until he is apprehended! With this in mind, the "Cult Filmz" website (where THE HATTER'S GHOST was given a similar rating as mine) bemoans the unsatisfying ending but, as for myself, I was not bothered by its ordinariness (this is, after all, essentially a low-key affair).Incidentally, Leonard Maltin – who unjustly lambasts the film and awards it a measly *1/2 – may have been baffled by the seemingly deliberate heavy-handedness at work and, consequently, took Michel Serrault's performance in particular to be absurdly overstated. He is literally a "Mad Hatter", thus providing a link to yet another of the director's earlier efforts i.e. ALICE OR THE LAST ESCAPADE (1977). Indeed, as with the afore-mentioned (and intrinsically histrionic) THE BREACH, this could well be deemed a parody Chabrol movie if it were not so compelling (based on a novel by Georges Simenon) and obviously accomplished! In the long run, THE HATTER'S GHOST emerges to be one of the most purely Hitchcockian works by France's own "Master Of Suspense", with definite nods to PSYCHO (1960) and FRENZY (1972) but also featuring a STRANGERS ON A TRAIN (1951)-like complicity between the film's two leads. The other protagonist is Charles Aznavour – no less impressive than Serrault, despite having far less screen-time – as the mousy Armenian tailor who constantly shadows the hatter, even witnessing one of his murders, but is too afraid to report him and, owing to his own frail health, eventually dies. Also in the cast are a young Francois Cluzet as a reporter who not only follows the case but is periodically contacted via taunting letters by the strangler, THE BREACH's Mario David as the clueless Chief of Police and Aurore Clement as an attractive woman all the menfolk lust after but who is clearly fated to cross paths with the killer eventually.

If this movie were ever shown in English-speaking countries they could do worse that call it Tailor and Cutter, which pretty much sums up the plot; Charles Aznavour is a tailor in a French provincial town and the only citizen to suspect hatter Michel Serrault of serial murder. As usual Chabrol is good at depicting French Provincial life though it could be argued that he lets him camera wander down the same narrow, cobblestoned street once too often. Despite his major billing Aznavour is restricted to a Supporting role at best and spends ninety five per cent of his screen time openly 'shadowing' Serrault and being taunted for his pains. Even if you don't know the storyline going in it soon becomes apparent that 1) Serrault has a secret and 2) Aznavour has a pretty shrewd idea what it is so that what pleasure there is to be had comes from observing the cat and mouse game which Serrault enjoys as much as killing and it is significant that when Aznavour falls ill and dies Serrault loses his own zest for life and throws in the towel. Certainly worth watching but not vintage Chabrol.

"Les fantômes du chapelier" ,very well received at the time of release,still stands as Chabrol's best movie in the eighties,though certain aspects of its premise have undergone some reassessment.Seen today,the movie displays flaws that were hardly noticeable 20 years ago.First of all,Michel Serrault overplays:his over-the -top performance ,once lauded ,seems now exasperating and throws the movie off balance.(I wonder what Chabrol's other favorite,Michel Bouquet, would have done in this part).This imbalance is increased by the fact that Charles Aznavour's character is not present enough on the screen.Aznavour gives a wonderful portrayal of an Armenian émigré,whom bourgeois Serrault enjoys humiliating and demeaning.With hindsight Aznavour beats Serrault hands down.The problem with "les fantômes du chapelier" is that it recalls other superior movies:bourgeois impunity had always been treated by Chabrol himself during his 1967-1973 heyday (notably:"la femme infidèle","la rupture" "juste avant la nuit""docteur Popaul"),but also long before him:Henri Decoin's "non coupable" (1946) and "la verite sur Bebe Donge" (1952): in the 1946 film,the intention is much clearier and scarier than in Chabrol's 1982 effort,and ,anyway,Serrault is no match for Michel Simon.We can also mention George Lautner's "le septième juré". "Les fantômes du chapelier" has an eerie side,verging on fantastic ,but ,again,there's the rub:let's face it,it looks like some kind of "psycho" of which the secret would have been be revealed sooner.Something intriguing:the camera often shows a "Ben Hur" poster in the neighborhood .A tribute to William Wyler is dubious from a "nouvelle vague " family director,but who knows?See it anyways.Its several incredible moments will make it worth your while.For Charles Aznavour and for Chabrol's always absorbing depiction of a small town.

A hatter in a provincial town (Michel Serrault) leads the life of a respectable citizen but is in fact a serial murderer. The only person to suspect this is his neighbour the tailor (Charles Asnavour). It is difficult to believe that this film was made in the eighties as not only is the film set in the fifties but it has a totally fifties style production. It seems to be exactly the kind of film that Chabrol and the other members of the nouvelle vague were rebelling against. The story is very straightforward, the characters are stereotypes, the female characters are two dimensional and treated as objects. "Le Boucher" made years earlier is far more modern and superior in every way. The story is well told if you suspend your disbelief and the acting on the whole is good. The town in which it is set is very photogenic, with narrow cobbled streets and no traffic. Not only does it compare badly to other Chabrol films but also to other Simenon adaptations. "Monsieur Hire" has a similarly paced and straightforward story line but is more adventurous in visual style and tells a more modern story with two more believable characters. "Le Horloger de Saint-Paul" has almost a documentary style and requires a lot of thought as the development is to do with the main character rather than the storyline, and is far superior.