Fantomas

I watched this film tonight on TV5 again for the first time in 20+ years and loved it. I had always wanted to see it again because it had left only good memories from when I was a teenager and watched it on German TV where it was very popular in the 70s. The main character is an evil rogue who outwits his pursuers by his skills in disguise and technical resources. The film (and its sequels) is based on a series of 1910s French pulp novels which have only sparsely been released in the U.S. (sadly unavailable in print right now). The novels influenced French surrealist and avant-garde artists/writers because of their fascination with moral transgression and black humor (a term coined by the surrealist Andre Breton in the 1930s). If you like slapstick comedy you will also enjoy Louis de Funes in the role of Inspector Juve. Sure, the film is badly made by today's standards and technically not as brilliant as the 1960s James Bond movies that it mocks--but, hey, at least the bad guy is smarter than the good ones, which is still refreshing to see compared to most oh-so-morally-PC Hollywood flicks today.

Enjoy!

Simplement culte de chez culte. A voir et à revoir

I had always been intrigued by the exploits of this famous criminal mastermind, and especially its initial cinematic adaptation via the Silent Serial of 1913-14 made by Louis Feuillade (whose French 2-DVD Set I purchased, rather costly, and enjoyed a great deal). Another interesting version was the 1932 Paul Fejos film, which recently turned up on late-night Italian TV (in the original language!) - but I missed out on it because at the time I was in Hollywood!!

To be honest, I wasn't expecting much from the Sixties revival but, as it turned out, it's a likable - and stylish - enough triptych, even if it's somewhat unbalanced by the comic relief (which increased with each new entry). Also, since I watched the three films back-to-back, they've become more or less interchangeable in my mind - especially given the fact that they have much the same cast and crew!

It's interesting that Jean Marais has a dual role - as had been the case with Jean Cocteau's BEAUTY AND THE BEAST (1946), where he was hidden behind an amazing animal make-up for virtually the entire film, as well as playing the rather bland hero - as both Fantomas (his features are still recognizable behind the rather wonderful blank-faced mask) and the intrepid reporter hero (at which he managed to be credible, despite being 50 years old!), with an equally brave partner (the lovely Mylene Demongeot) in tow; while popular comic Louis De Funes appears as Commissioner Juve, forever in pursuit of the elusive and fiendish criminal, abetted - but more often hindered - by a rotund Inspector played by Jacques Dynam.

Unfortunately, the film aspired more to the tongue-in-cheek approach, colorful scenery and the gadget-heavy thrills of the James Bond extravaganzas (featuring even a similar score!) rather than the poetic touch - which went hand in hand with the inherent surrealism of such fare - which Georges Franju gave to a contemporaneous remake/compression of another Feuillade Silent Serial, JUDEX (1963; the original was released in 1916-17). Perhaps the best scene(s) of the film is the extended set-piece at the climax in which Fantomas utilizes five separate means of transportation - train, car, motorbike, boat, submarine - in order to escape the clutches of the Law (successfully).

The Fantomas novels were resurrected in the early 1960s as France's own answer to the James Bond frenzy that swept the Continent and the world. The first one of the trilogy was filmed in 1963-64 and released in 1964. This film is shot in normal aspect ratio 4:3, whereas the following two were filmed in anamorphic wide screen.

The opening sequence of the film is already a gas: Fantomas pulls up in a chauffeured driven Rolls Royce Silver Cloud to a fancy jeweler's store next to the Paris Ritz Hotel. His mask identifies him as a British Lord. He pays for the jewelery with a personal check and then drives off with his stunning lady friend, smiling and laughing his distinct laughter. Next, we see the check being held in the hands of the jeweler, when suddenly, the amount and signature written on it disappear (invisible ink!) and the word "FANTOMAS" appear. Pretty high-grade stuff for 1964.

Interesting to note that in all three films, the actor Jean Marais played both the criminal mastermind Fantoms and ladies man Fandor, the journalist.

I also enjoyed looking at the journalist Fandor's hip mansard apartment. Top gimmick is the rubber masks that offer Fantomas anyone's identity at will. The flying Citroen car debuted here and was used on an AMC car that flew with retractable wings 10 years later in a Bond movie.

It would be so nice to be able to get the Fantomas films on DVD here in North America.

This movies i mean the three Fantômas were an important part of my childhood back in the late 60s or early 70s, i remember how much fun was to go the movies back then in my little coastal town of Banes in the east part of Cuba with my cousin Manny, and the Fantômas movies were the biggest hit of all, any Cuban over 40 years old will tell you how much they love this movie and because this movies Mylene Demongeot the very beautiful french actress became very popular in the beginning she was another copy of Brigitte Bardot as michele Mercier or Marina Vlady and many others were but as Vlady she became star in her own right, Louis de Funes the most popular of all french actors or comedian in Cuba became an idol back then he was really funny later in my life i discovered he was of Spanish decent and Jean Marais by the time of the Fantômas movies he was at the end of his stardom and i was very surprise when i discover later in my life he was gay and at one point he was the lover of Jean Cocteau, anyway i love the Fantômas movies and forever they will remain part of my life