This is one of those precursors to any number of schlocky, gory horror movies of the coming decades (and indeed was first released with a similarly B-movie title in the States), but manages to be somehow elegant enough that Édith Scob in the more recent interview on the Criterion disc contends it is not a horror movie. (It is very much a horror movie.) But that assessment makes sense because it sits somewhere between older films about mad scientists performing experiments and the French policiers and thrillers of the 1950s (themselves staples of the Criterion catalogue). Of course, key to director Georges Franju’s vision of horror is that the scientist at the heart of this film, Dr Génessier (Pierre Brasseur), isn’t mad at all — he’s just driven by a love for his daughter Christiane (Scob), whom he has caused to be disfigured, in conjunction with a very loose sense of ethical responsibility. The horror then is really not in anything we see — though there are some brief gory and troubling images — but in the way it all seems so complacently self-evident to the doctor and his nurse accomplice (Alida Valli). It remains an elegant film about very inelegant people.
- The chief extra is one of Franju’s short films (and which appears on Jonathan Rosenbaum’s favourite 1000 films list), Le Sang des bêtes (Blood of the Beasts, 1949), which is undoubtedly a difficult film to watch, and one can only be thankful it’s in black-and-white. After all, it presents the work of a French abattoir contrasted with a small town idyll and the benign indifference of the people tasked with chopping up these living creatures. It’s a horror film of sorts but largely avoids editorialising.
- There’s an 8 minute interview with Scob from 2013, in which she discusses the film and it making, and her place in it.
- An odd little 5 minute French TV piece has Franju being interviewed about the ‘cinema of the fantastic’ by a man in a silly wig and a prominent chemistry set in the foreground — presumably as part of some kind of TV themed bit about mad scientists.
- A 7 minute excerpt from a 1985 French TV documentary presents interviews with Boileau and Narcejac about their crime writing partnership, though they don’t specifically touch on this film.
- Finally there are French and US trailers, the latter particularly interesting because it’s for the original release under the title The Horror Chamber of Dr. Faustus as a double-bill along with a creature feature called The Manster (he’s half man! half monster!).
FILM REVIEW: Criterion Collection
Director Georges Franju; Writers Franju, Jean Redon, Pierre Boileau, Thomas Narcejac and Claude Sautet (based on the novel by Redon); Cinematographer Eugen Schüfftan; Starring Pierre Brasseur, Édith Scob, Alida Valli; Length 90 minutes.
Seen at home (Blu-ray), London, Sunday 11 July 2019 (and originally on VHS at the university library, Wellington, July 1999).
I only started watching ‘giallo’ films a few years ago, that peculiar hyper-stylised Italian sub-genre of horror, and among those first three was Dario Argento’s Profondo rosso (1975). I’ve watched only a few from the genre since then, like Femina ridens (1969) and All the Colors of the Dark (1972), but they’ve all offered fascinating little glimpses into an alternate world of filmmaking. Finally, I managed to catch up on Argento’s most famous film, recently remade by Luca Guadagnino (though I haven’t yet seen the remake, and may not ever bother).
One of the taglines for this film is “The most frightening film you’ll ever see!” and I should point out right away that this isn’t quite true: part of what Argento seems to be doing here rather undercuts the scariness. There’s terror and horror and gore, but the use of colours and sound, the heightened acting (a nice way of saying it’s pretty ropey), the whole Grand Guignol nature of the enterprise, somewhat mitigates against the scares. Still, what colours! What sound! The score by Goblin is just fantastic, ultra-70s electronica, and combined with the deeply saturated colours, it makes the film that much more immersive. From the very opening scenes, the tone starts out at hysterical turned up to 11, and then… it just cranks it up ever more. The witches’ coven/German dance school conceit suggests deeper tensions within society that remain allegorical (I believe these are made more concrete in the remake), and while I may remain unconvinced by the acting, it’s some kind of a film.
Director Dario Argento; Writers Argento and Daria Nicolodi (based on the essay “Suspiria de Profundis” by Thomas De Quincey); Cinematographer Luciano Tovoli; Starring Jessica Harper, Stefania Casini, Alida Valli; Length 98 minutes.
Seen at home (Mubi streaming), London, Sunday 9 December 2018.
There’s a certain kind of ‘cinema of quality’ prestige big budget production, especially from the UK, that I am somewhat allergic towards, and for many years I’d lumped The Third Man in with that. However, rewatching it again recently I realise the problem is with me when it comes to this film, because it’s not only glorious — and it truly is spectacular, even if just for the depth of its shadows and the luminosity of the light in those sewer sequences, though it’s sustained throughout by canted framings and canny compositions — but it’s also rather less triumphalist and morally clear-cut than you might expect from its American-in-Europe plotline. The film’s world is one of moral grey areas, a position staked out by the Harry Lime character (Orson Welles, in what amounts to a brief but memorable cameo), and constantly questioned by its pulp novelist protagonist Holly (Joseph Cotten). He has come from the US to Vienna just after the end of World War II looking for a job with his friend Harry, only to find himself at Harry’s funeral wondering what happened. No one has a clear story, and the details seem to be being hidden by the various forces — the city is split between four occupying armies, with their own respective languages — as well as various shadowy characters who interact with them at an official or semi-official level. It’s a film about profiteering, which makes clear the moral equivalency between wartime acts and those same acts outside wartime. It also features some excellent performances by Cotten as well as Alida Valli as Lime’s girlfriend Anna, but primarily it’s a triumph of writing and direction, whatever snobby canards towards Carol Reed’s “non-auteur” status the critics might throw.
Criterion Extras: A packed reissue includes an introduction by Peter Bogdanovich, retailing the Reed-as-non-auteur line pretty hard.
FILM REVIEW: Criterion Collection
Director Carol Reed; Writer Graham Greene; Cinematographer Robert Krasker; Starring Joseph Cotten, Alida Valli [as “Valli”], Trevor Howard, Orson Welles; Length 104 minutes.
Seen at Paramount, Wellington, Saturday 2 May 1998 (and most recently on DVD at a friend’s home, London, Sunday 29 November 2015).