Criterion Sunday 260: Les Yeux sans visage (Eyes Without a Face, 1960)

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.

CRITERION EXTRAS:

  • The chief extra is one of Franju’s short films, 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).

Criterion Sunday 245: Le Quai des brumes (Port of Shadows, 1938)

People talk about this being a proto-noir, and I’ll defer to those more knowledgeable about their genres than I am, but it somehow feels less doomed, though it’s bleakly fatalistic in its way. It does, however, have an amazing sense of setting, as fog constantly closes in around all the characters in the port setting of Le Havre, shot by the great Eugen Schüfftan, who did Metropolis amongst others and so has a hand in defining how noir might (and would come to) look. It’s been described as “poetic realism”, and this feels like Carné’s thing in this film, harking back to earlier examples of the style through the casting of L’Atalante‘s Michel Simon. Jean Gabin’s army deserter Jean finds himself trying his best to stay out of trouble, but as they say trouble constantly seems to stick to him, like the fog, the oppressive sets, and the petulant baby-faced pretend-gangster Lucien (Pierre Brasseur) who’s on his case the whole time. It’s all rather glorious.


FILM REVIEW: Criterion Collection
Director Marcel Carné; Writer Jacques Prévert (based on the novel by Pierre Mac Orlan); Cinematographer Eugen Schüfftan; Starring Jean Gabin, Michel Simon, Michèle Morgan, Pierre Brasseur; Length 91 minutes.

Seen at home (DVD), London, Sunday 31 March 2019.