book. She is flustered and avoids giving direct answers as to how she knew Victor. In the evening, she mentions the disappearance to her husband, claiming Pégala was only a vague acquaintance. The detectives return and interrogate both Hélène and Charles, who denies having even heard of the man before. Hélène finds a photograph of Victor in her husband's jacket pocket with his name and address on the back. She looks as if she is going to confront him but she goes outside and burns it. Her emotions are difficult to read. In the final scene the family is in their garden when the two policemen walk up the drive. Charles tells Hélène that he "loves her madly" and goes to speak to the police. The camera then moves back to the wife and child, slowly panning until they disappear hidden by soft focus foliage as Charles is presumably taken away from them. Cast Stéphane Audran as Hélène Desvallées Michel Bouquet as Charles Desvallées Michel Duchaussoy as Inspector Duval Maurice Ronet as Victor Pegala Louise Chevalier as maid Louise Rioton as Mamy Serge Bento as Bignon Henri Marteau as Paul Guy Marley as Police Officer Gobet François Moro-Giafferi as Frederic Albert Minski as King Club owner Dominique Zardi as truck driver Michel Charell as policeman Henri Attal as man in cafe Jean Marie-Arnoux as false witness Stéphane di Napoli as Michel Desvallées Donatella Turri as Brigitte Reception The film was commercially unsuccessful in France (only 682,295 admissions) but was praised by critics. The New York Times said that "in concept and execution, it is a film so calmly and thoughtfully perverse that it can have been born only in the unique cinematic imagination of Claude Chabrol." Time Out called it "one of Chabrol's mid-period masterpieces, a brilliantly ambivalent scrutiny of bourgeois marriage and murder." Derek Malcolm wrote in The Guardian that "Chabrol displays an irrestistible logic and an ironic humour", and "what could have been just another thriller becomes... also a passionate love story, with its share of intense irony and a pervading sense of the quirkiness of fate." TV Guide called it "arguably the best of Chabrol's superb, Hitchcockian studies of guilt, love, and murder among the French elite", and said that "Michel Bouquet and Stéphane Audran... give perhaps the finest performances of their careers." Remakes It was remade in Filipino in 1995 as Sa ngalan ng pag-ibig and