The Road to Corinth

Claude Chabrol tried his hand repeatedly at the spy genre in the 1960s (when it was extremely popular, due to James Bond's success), but it wasn't really his forte: his style is just too cerebral and measured in its pace to generate much excitement. At least "The Road To Corinth" is an improvement over his two "Agent Tiger" efforts (which further suffered from an uncharismatic lead). In this one, Jean Seberg takes a while to appear, but she makes a fairly awesome heroine: brave, smart, sneaky, determined, and (to state the obvious) beautiful with a killer body. The attractive Greek locations, the flavorful music score and a collection of eccentric characters keep you watching, but as I said above the film is rarely exciting and its climax is more of an anticlimax. Worth seeing mostly as a diversion for Chabrol, just before he entered the most celebrated phase of his long career. **1/2 out of 4.

This is the last film of Chabrol's sixties transitional period (1962-1967);the next one "Les Biches" inaugurates the great era which many consider Chabrol's finest hour.Using the same actors as in "La Ligne de Démarcation" ,Chabrol tried his hand at a spoof on the spy thrillers which were so hip at the time in the wake of James Bond ;call it "Marie-Chantal Contre le Docteur Kha 2".Jean Seberg's character's recalls Marie Laforêt's.

The story is absolutely far-fetched and the viewer doesn't care a little bit for the "black boxes" which threaten the world and its radars.Michel Bouquet has a couldn't- care- less part and you would not think by looking at him he would become the great actor of such Chabrolesque achievements as " La Femme Infidèle" -where he would meet again Maurice Ronet-"La Rupture" or " Juste Avant La Nuit".Jean Seberg plays the part of a not-so-dumb-bimbo and she's very good-looking as Greek landscapes filmed by Rabier are.

Like this ? try these....

"OSS 117: Le Caire Nid D'Espions" (Hazanavicius ,2006) "Coplan Sauve Sa Peau" (Boisset,1967) "Marie-Chantal Contre Le Docteur Khâ" (Chabrol,1965)

Even if he had the greatest longevity among the Nouvelle Vague crowd, Chabrol's work tends to be erratic - but, at his best (usually when directing psychological thrillers), he was up there with Hitchcock and Lang.

This was a film I had missed out on previously so, when it turned up again recently on late-night Italian TV, I made sure to catch it this time. Despite its credentials, it doesn't have a very good reputation and, watching it now, I can well understand why! The muddled storyline makes for an espionage thriller that's somewhat dreary (with the titular device serving as the proverbial "McGuffin"); nevertheless, it definitely benefits from a good cast (an appealing Jean Seberg, Christian Marquand, a rather glum-looking Saro Urzi, Chabrol himself in a small but important role - which, at one point, sees him disguised as a Greek Orthodox priest! - as well as regulars Maurice Ronet and Michel Bouquet - the latter, perhaps, coming off best of all), the lush cinematography of Greek locations (courtesy of Jean Rabier) and Pierre Jansen's lively score. Its tongue-in-cheek approach helps, too, resulting in the occasional amusing moment or quip (though the film never quite descends to the camp level of, say, MARIE-CHANTAL VS. DR. KHA [1965]).

All things considered, then, a very minor Chabrol which, interestingly enough, directly preceded LES BICHES (1968) - the film which heralded his greatest period (one that would last, more or less, till 1975's INNOCENTS WITH DIRTY HANDS). WHO'S GOT THE BLACK BOX? is out on R1 DVD through Pathfinder - but the company's hit-and-miss record and the disc's own bare-bones status don't give it much hope of an eventual purchase from me (unless they stick it in another Box Set somewhere down the line, though it seems that the only other title they have released outside of the already-existing 8-Disc Collection - and which I've been pondering about picking up for ages! - is PLEASURE PARTY [1975], available as a stand-alone SE)...

This is not a typical Chabrol film. It's a dull spy-comedy filmed at Greece. So I am going to spare these lines commenting on the positive aspects of the film. Jean Seberg is sexy as hell. There are parts that are funny. There are two Greek actors who in Greece have special respects (Artemis Matsas, Vasilis Diamantopoulos). Finally, Chabrol seems to like the Greek landscapes and the Greek way of living, at least the one during the 70ies. He presents the most graphical side of Athens and of the Greek Country at its best. It's a 6/10 because of these few good additions, if you are not interested in them, don't even bother watching the movie.

The more Claude Chabrol films I check out, the more I like the great French director. Prior to seeing this early Chabrol flick, I hadn't seen a bad film from him - after seeing it, I have to say that I still haven't; but that doesn't change the fact that The Road to Corinth is a decidedly sub par offering from the usually solid director. Chabrol's best work tends to focus solely on characters - in particular the relationship between husband and wife - but this film focuses on more global events and the characters take a backseat. The plot focuses on a set of black boxes that have the ability to jam radar installations. Naturally there are people out to protect these devices and it's not long before an American agent is killed while trying to locate them. Despite the advice of a fellow American, his widow Shanny resolves to get on the same lead that her husband was following prior to his death, hunt down the black boxes and get revenge on the people that killed her husband.

The film is rather strange as it lacks Chabrol's usual suspense and that is replaced by a sort of awkward comedy which serves only in offsetting what little tension there is since the comedy does not work. One of the major problems with this film is undoubtedly the plot line which doesn't exactly help the lack of suspense because it's really rather boring within itself and Chabrol doesn't give the audience much reason to care about the black boxes at the centre of the story. The film does have some saving graces on the style front, however, as lead actress Jean Seberg is very easy on the eyes and Chabrol's cinematography captures the locations used well. The first half of the film just sort of drones along with barely any excitement at all, but to the film's credit; things do pick up a little bit in the second half of the film as the story draws to a close. In spite of this, however, The Road to Corinth does feel more than a little bit pointless and it's clear that Chabrol didn't really have anything to say with it. Overall, this is not one of the great director's better efforts and I would not recommend it!