| Alice or the Last Escapade | |
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| Directed by | Claude Chabrol |
| Produced by | Pierre Gauchet Patrick Hildebrand Eugène Lépicier |
| Screenplay by | Claude Chabrol |
| Based on | Alice's Adventures in Wonderland by Lewis Carroll |
| Starring | Sylvia Kristel Charles Vanel |
| Music by | Pierre Jansen |
| Cinematography | Jean Rabier |
| Editing by | Monique Fardoulis |
| Studio | Filmel # P.H.P.G. |
| Distributed by | Union Générale Cinématographique (UGC) |
| Release date(s) | 19 January 1977 |
| Running time | 93 min. |
| Country | France |
| Language | French |
Alice or the Last Escapade (French: ''Alice ou la dernière fugue'') is a 1977 film written and directed by Claude Chabrol. The film is very loosely inspired by Alice's Adventures in Wonderland by Lewis Carroll, including the protagonist's name being Alice Carroll (a combination of the Alice character and the author's pseudonym's surname).[1]
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While leaving her husband, whom she has grown to despise, Alice (Sylvia Kristel) drives into the pristine countryside but must stop at an old house after her windshield cracks mysteriously. The people receive her at the house as if she were expected, and she spends the night there while her car is repaired. The next day, she finds that she cannot find the highway from whence she came, and reluctantly returns again to the old house where she is told "accept" her situation by a young man and realizes that she is in limbo. After she walks down a dark cellar, the woman's body is seen hanging out of her demolished car. She has finally met Death.
| Actor | Role |
|---|---|
| Sylvia Kristel | Alice Caroll |
| Charles Vanel | Henri Vergennes |
| Jean Carmet | Colas |
| Fernand Ledoux | Le Vieil Homme et le Docteur |
| André Dussollier | Le Jeune Homme et le Pompiste |
| François Perrot | L'Homme de 40 ans |
From TV Guide:
| “ | College philosophy-course idea is given a lush photographic treatment by the Hitchcock-influenced Frenchman Chabrol.[2] | ” |
From www.devlidead.com:
| “ | Chabrol, ranging from expressionism and realism, depicts a parallel dimension in which there is any obvious duality between good and evil present in the sets, characters, narration, lighting... However, even if the fantasy genre, revealing himself completely new in the career of the director, is perfectly controlled, it appears that the film is very "chabrolien", that is to say close to his characters, which, in are concerned, operate in a microcosm in which their different psychological profiles give rise to power relations. Chabrol, who knows human nature, dissects every move of our heroine, and leads inexorably towards the abyss... At present, even though the film tends to go unnoticed in the career of the filmmaker, ALICE OR THE LAST FUGUE remains a work unique, unclassifiable among other treasures chabroliens as exciting as each other. By adapting the tale of Lewis Carroll "French," Chabrol has risen to the challenge of maintaining its fantasy genre film convictions.[3] | ” |
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