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Very very predictable, including the post credit scene !!!

Too much of everything

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Let me leave aside the glamour coefficient of Romy, which was in large measures in this movie, she looked glamorous even in a prim suit here, and it was no wonder that every one was making a pass on her, from the judge, to the defense lawyer to her husband's best friend, and becoming her mortal enemy when she rebuffed them and that is the basic crux of the story. This is a story more into study of human sexuality, or rather a man's and as pointedly told in the end "It's a man's world, where all the law's are made by man" The main two character around whom the story revolves are the spouses Wormser (Romy and Steiger) and their problem is the lack of physical relationship due to the husband's health, first we are made to belief it was his heart problem, and later told that he was impotent, it was one of those, or something else, wouldn't be divulged till the end.Anyway lack of physical relationship (for couple of years by then), the young and glamorous wife falls in the arm of a young pulp-fiction-writer, and they plan to murder the wealthy husband, frame it as an accident, and then legally walk off with the money. From there the crossing and double crossing starts between not only the three main figures (husband wife and lover), but a few others too. The police suspects, but without the corpus delicti, and also the prime suspect (lover) supposed to be dead in and accident the case falls flat, and the widow is acquitted, despite police rightly suspecting her. Nothing out of the ordinary in the deduction process, may be a bit Sherlock-ian, but the evidences for deductions were all there, even to audience, to come to the conclusion the detectives (or rather one) did. As some have pointed out, there had been twists and turns, including resurrection, but that didn't create too much of aberration, and rather brought the story to a some-what predictable end, without surprises. By surprise I mean, creating situations to force the end, here everything fell naturally without manipulation, even the end.The characters of the men, all swarming around the glamorous young woman were all well portrayed, even their 'male' mind-set was clear by the epithets they used for her, especially considering that she was a deprived woman than a depraved woman. But ce'st la vie, don't we still look at most with that eyes? The crime graph would show that it is really a man's world. If a woman resists, either she is subjugated or termed as bitch or even worse.This deprivation could have serious implications too, and that is again natural. Here, her all internal feelings remained in, the ember was covered in the thick ash courtesy the physical needs and could come out when the ash was rudely shaken.

"Innocents With Dirty Hands" could perhaps be described as Claude Chabrol's variation on the classic French thriller "Diabolique". It's not a perfect movie: it's long and talky; the plot has some extreme "conveniences"; the final shot is a bit of a WTH. But it's a refreshingly adult, constantly twisty, sometimes creepy, morally complex thriller that challenges its viewers by giving them characters (the central love triangle, the two cops, the financial adviser) who are not easy to like, and who through the process of the movie reveal that they are not who they first appear to be. The one likely audience-pleasing character is the quick-thinking lawyer Albert Legal; Jean Rochefort gives a flamboyant performance and nearly steals the show in about 10 minutes of screen time. At first you may fear that Rod Steiger will feel out of place in a French film, but somehow he fits right in. And between Romy Schneider, the St.Tropez locations, and the big beautiful house with a view where most of the action takes place, your eyes will usually have something to get fixed on. Beware of a harrowing physical attack scene near the end, though. **1/2 out of 4.

Much has been said about the plot and the actors of the film, I won't go into it in more details, just give a few personal impressions.First of all, the film has excellent actors in the main roles, Romy Schneider, Rod Steiger and Jean Rochefort being absolutely brilliant, every single one in very memorable roles. However, there are also, inexplicably, weak actors such as Paolo Giusti (one of my previous commentators has already stated this correctly) which lead me to believe that Claude Chabrol really was not up to his great level in this film. Whatever it was, something is definitely wrong, the camera angles and shots, the story, how the plot is linked - you watch the film, it sucks you in, but leaves you with a strange feeling of unfilled expectations! Secondly, what buggers me very much indeed is the horrible mixture of dubbed and non-dubbed voices. I have had the chance of watching the French and English version on DVD and caught myself switching from one to the other for getting the respective voices in their original. Yes, and another commentator here said rightly, Rod Steiger spoke English, of course. And *lots* of his acting power and prowess went into *how* he spoke! Unforgettable, how, at the beginning of the film, he plays the "impaired", soon-to-be-betrayed husband of a too beautiful wife. Romy Schneider spoke both languages in the English and the French version. The other French actors, as the great Jean Rochefort in the memorable court room scene (hilarious) spoke French to great advantage. And Paolo Giusti is speaking I don't know what, absolutely impossible to figure out, he sound horrible in whatever version you listen to. You see, it's a complete mixture. Very disturbing, very un-French. All cinephiles know the French cinema to excel in the art of direct sound recording and captivating the original actor's voices marvelously. Why on Earth did Claude Chabrol make such a mess here? Why not have chosen all-French actors and make another one of his great films? This one isn't one, even it it entertains you, in a certain, unfulfilled way.

They both longed to work with each other for many years, but when it finally happened in 1974, Romy Schneider and Claude Chabrol failed miserably. "Les innocents aux mains sales" is a low point of both their careers, a slow-moving and unconvincing film that meanders somewhere between crime story, sex drama, baroque thriller and social study."Les innocents…" pairs Schneider and Rod Steiger as Julie and Louis Wormser, a rich couple living in a grandiose villa in the Southern part of France. Louis is very rich and about twenty years older than his wife who is disgusted by his alcoholism and rude manners. One day, Julie meets Jeff Marle (hunky Paolo Giusti), a writer and neighbor who flies kites and shows eminent sexual interest in her. Together, they plan to drown Louis and run away with the inherited money. Of course, something goes wrong, and a supposedly dead Rod Steiger suddenly stands on the doorstep again, ready to take revenge…Schneider solidly acts her way through the 125 minutes of Chabrol's mystery, and certainly she's prettier than ever, but you don't get to see the passionate performer that made films like "L'important c'est d'aimer" or "Les chose de la vie" so unforgettable. As a matter of fact, Romy seems obviously bored and out of place, and she doesn't watch with either Steiger or Giusti. She later declared that she and Chabrol just didn't get along together: "He just sat there playing chess while the cameraman and we tried to make this picture. He left me alone, something I cannot bear. I need either a challenge, like with Welles, Visconti, or Zulawski, or cooperation, like with Sautet.""Les innocents…" does have its moments of greatness, but all in all, it remains an unsatisfying experience.