It was never going to be easy for Claude Chabrol to move on from his most productive period. Between the late 1960s and the early 1970s, Chabrol produced a series of films that would not only secure his reputation to the present day, but also leave an indelible mark upon what comes to mind when one thinks of French cinema. Les Biches (1968), La Femme Infidele (1969), Que La Bete Meure (1969), Le Boucher (1970), Juste Avant La Nuit (1971) and Les Noces Rouges (1973) were shot almost on top of each other with a similar cast of actors who almost came to resemble a repertory company performing only the works of Claude Chabrol. A company of actors who knew exactly what was expected of them in a series of films that positively simmered with anger and resentment at the provincial bourgeoisie who ran the country and defended the status quo while angry young men such as Chabrol climbed the barricades in the hope of creating a better world.
However, watching the films of this period, it strikes me that Chabrol and revolutionary politics were never going to be a perfect fit. Chabrol’s vision of the world is deeply morally complex. When he looks out the window he sees shades of grey rather than the stark black and white demanded by revolutionaries willing to use force to change the world. In fact, while films such as La Femme Infidele, Que La Bete Meure and Les Noces Rouges did a brilliant job of critiquing the middle classes by suggesting a world of sex, passion, drink and self-destruction beneath the mannered politeness and brass-buttons, these criticisms also humanised them. There is something almost comical and easy to empathise with about the husband in La Femme Infidele who kills his wife’s lover but never mentions it to her or the man in Que La Bete Meure who tracks down his son’s killer only to discover that the man’s entire family are hoping that someone will kill him for them. These are not the kinds of people you simply put up against a wall… these are weak, pitiful and ultimately on some level sympathetic creatures. They are victims of the system just like everyone else. Given the general timbre of Chabrol’s work during the late 60s and early 70s, Chabrol’s political history and the political climate of the French cinema scene at the time (Cahiers du Cinema was run by a Maoist collective during the mid-70s) it was clear that something had to give and the result was Nada, a satirical comedy-thriller based upon a noir novel by the influential French writer Jean-Patrick Manchette, that sees Chabrol turning his ire from the bourgeoisie to the functionaries of the state and the radical Leftists who would overthrow them.