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La Fleur du Mal isn't quite Chabrol on auto-pilot, but he's clearly more interested in the usual bourgeois side issues than the identity of the author of an anonymous leaflet that threatens Natalie Baye's campaign to become mayor of a small town by raking over the coals of the family's history of murder and Nazi collaboration. History is obviously going to repeat itself, but there's no sense of impending dread, merely a feeling that Chabrol has left himself too little time to remember the plot and wrap it up. Thus we get a somewhat hurried finale that feels practically like an afterthought – you can almost imagine him looking at his watch and thinking "Is that the time? I'd better kill someone so we can all go home." It's at its best dealing with local politics and petty ambitions on the campaign trail, and Baye and Suzanne Flon have the best of the film, but Chabrol's reunion with La Ceremonie scripter Caroline Eliacheff seems far more a time-filler than an essential.
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