Chabrol's "The Butcher" is perhaps more horror movie than suspenser. This may account for the strange behavior of Helene, so perfectly realized by Stephane Audran. The big question that arises at the movie's end is: "How can Helene be so lovingly forgiving of a vicious serial killer." Especially right after calling on every ounce of her physical and emotional being to save herself from his terror. And especially not long after the vicious sexual murder of a dear employee---for whom she shows less emotion, but more than what she showed for the original very local victim, which was none at all. For a wonderfully intelligent and upbeat teacher, her behavior is certainly questionable, and bothersome. Are we supposed to blame these crimes on the butcher's military past? And therefore understand Helene's sympathetic patience and love for Popaul? Yes, I think this is the idea. But it doesn't wash with this viewer. For Popaul's crimes way outdistance anything the viewer senses from his war experience. Perhaps the better explanation is that this is a straight out horror movie where intentions and motivations hardly enter in---and that Helene, far from being a true masochist, is no more than a character following her role. I would have preferred a suspense film where she would have been allowed her own convincing independence and intelligence.