Interesteg What makes it different from others?

Konterr Brilliant and touching

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Claudio Carvalho When a viewer watches a thriller directed by Julien Duvivier with Alain Delon and Senta Berger, his or her expectation is of at least of a great film. Unfortunately the swan song of Mr. Duvivier is an absolutely flawed and deceptive film, with a terrible storyline and a screenplay with many plot holes and lack of character development. The situations are absurd and unbelievable and the open ending disappointing. My vote is five.Title (Brazil): "Diabolicamente Tua" ("Diabolically Yours")

Robert "Diabolically Yours" uses the same tired old trope that dozens of other films from the 1930s onward have employed: a man wakes up in a hospital, not sure who he is, but suspecting that he's not who everyone says he is. If that man is the film's protagonist, we need to develop empathy for him. And the surest way to thwart any empathy is for the plot to make him a fool.Why would a man who began by being suspicious of the story he was being set in, and who found more things to be suspicious of at every turn, keep reacting in the most foolish and trusting way? In the interest of not giving spoilers, let me just say that you or I, finding ourselves in his position, would've behaved far more sensibly than Alain Delon's character does here. The real fault lies in the plot for simply recycling a predictable story line and requiring stupidity of the "hero" in order to make it play out.The film does offer two concession prizes: some appealing cinematography in the 1960s Eastmancolor process, and a cracking jazz score by François de Roubaix.

lcourteau Cinematography, set decoration and wardrobe are magnificent, but what a botched-up screenplay! You just know something is amiss and the final explanation just won't stand the least scrutiny. Ever tried to place a reel-to-reel tape recorder under the victim's pillow and operate it without a remote control? Ever gobbled a suspicious medication for weeks without inquiring what the heck it might be? The ever-watching drinking-pal-turned-doctor who just happens to be out overnight when the hero discovers all about the diabolical setup, the leading lady who certainly was not selected for her acting talent, the fetishist clone of Inspector Clouzot's Asian servant, Claude Piéplu's outré decorator number, everything in there will just make you scream uncle. Well, there still remains Delon, waking up from a 3-week coma after a car accident without a scar, just a stiff maxillary, and yes, the very good trombone jazz tune during the very "moving" opening credits (no mention of the composer, though). Lots of second-degree fun, not unlike a "good" monster movie. Try it as a double-header after Lelouch's Marriage, for instance.

gridoon Right from the opening credits (which, by the way, are very cool; notice how the words seem to respond rhythmically to the music), it's easy to see that this film bears a striking resemblance to the 1991 thriller "Shattered": we have a car accident, a woman who mysteriously survives without a scratch and a man who gets badly injured, develops amnesia, and tries to piece together the puzzle of his previous life but senses that something isn't quite right, something doesn't add up. The plot is enigmatic and twisty but has some holes, and it won't fool anyone who's previously seen "Shattered" (or "Gaslight", for that matter). But Duvivier's innovative direction makes this a surprisingly undated thriller. Alain Delon gives one of his liveliest performances...and who could forget to mention Senta Berger's terrific body? (***)