Carne y fantasía

Even when he is far away from his native France,Julien Duvivier is among the best.

He had already tackled the fantasy and horror genre which he broached in the thirties with such works as "le Golem" (1936) and his remake of Sjostrom's "la Charrette fantôme " (1939).But these two works do not compare favorably with his masterpieces such as "Un Carnet de Bal" "Pépé le Moko" (both from 1937)"la Belle Equipe" (1936) or "la Fin du Jour" (1939).

"Un Carnet de Bal" was a movie made up of sketches ,although it featured the same female character all along the way."Flesh and fantasy" connects the links of the chain:it is a fantasy and horror movie made up of sketches .Here ,Duvivier creates a dreamlike atmosphere far better than his two thirties attempts:he conjures up pictures like a true magician -who was admired by both Ingmar Bergman and Orson Welles,even if the self-conscious nouvelle vague used to despise him,Like all his old colleagues.

The three stories are adapted from Oscar Wilde:the first one recalls sometimes "the picture of Dorian Gray" ;the overture is mind-boggling :the drowned man by the river,the disturbing and almost frightening crowd whose masks create some kind of mardi gras nightmare. An ugly girl -with stunning use of lights- finds the beauty of the soul that is in everyone ,even in herself.

The real meat lies in the second segment which features a sensational EG Robinson whose part predates Fritz Lang's "woman in the window" by one year.A fortune teller predicted a man that he would kill someone:it becomes a maleficent obsession,and Duvivier astonishingly cuts loose all the visual tricks at his command (mirrors,shop windows,spectacles ) and literally mesmerizes both Robinson and the audience.Very very langesque!Duvivier,whose pessimism easily equals the great German director's ,seems to believe that crime is a part of the human nature.(I remember actress Danielle Delorme saying :"when I asked Duvivier why my role in "voici le temps des assassins " (1956) was so evil and what could explain her satanic behavior,he simply answered "evil people are evil,period.")

The second segment segues sharply into the third one which takes place in a circus.An acrobat star -Boyer- dreams that he falls from the wire while a woman in the audience (Stanwick) is watching,a woman he's never met before.On a boat he meets her afterwards and they fall in love.Another strange dream puzzles the hero who ,although disturbed and worried,wants to go for broke.

Back in France ,Duvivier took the film made up of sketches to its absolute limits while mixing all his subplots in a seamless whole in "sous le ciel de Paris"(1952) The nouvelle vague tried this kind of "movie in segments" but they never surpassed Julien Duvivier,one of the Masters of the FRench cinema whose work ,both French and American is crying to be discovered.

And director Julien Duvivier. In the framing story, a nervous man (Robert Benchley) at a private club is told or reads through a series of tales meant to ease his discomfort. In the first tale, a homely woman (Betty Field) wears a magical mask during Mardi Gras to attract her long-sought lover (Robert Cummings). In the second tale, a man (Edward G. Robinson) has his fortune told by a palm reader (Thomas Mitchell), but he doesn't like what he hears. And in the third tale, a high-wire circus acrobat (Charles Boyer) has reoccurring dreams about a mysterious woman (Barbara Stanwyck) and his own demise. Also featuring Dame May Whitty, C. Aubrey Smith, Charles Winninger, Anna Lee, Edgar Barrier, David Hoffman, Eddie Acuff, Marjorie Lord, Peter Lawford, Ian Wolfe, Hank Worden, and Clarence Muse.

French director Duvivier worked in the U. S. during much of the war years. He had a hit in '42 with another anthology film, Tales of Manhattan over at Fox, so this follow-up seemed like a sure bet. He co-produced it with Boyer, which is ironic since the weakest segment to my mind was the last one which featured Boyer. The first segment had loads of atmosphere, and one can see how the blank mask worn by Field inspired the later Euro-horror classic Eyes Without a Face. The second segment, featuring Robinson and Mitchell, is the most like an episode of The Twilight Zone, and it also has excellent camerawork. The last segment isn't bad, but it seems to be the least inspired, and suffers a bit from dated effects work during the many high-wire scenes.

An interesting story concerns the original version of the film, which did not have the humorous framing story featuring Robert Benchley. Rather it began with another tale, this one focusing on a fugitive murderer (Alan Curtis) who runs into a farmer (Frank Craven) and his blind daughter (Gloria Jean). This segment ended with the killer dead and floating down a river. Preview audiences loved it, but for some reason it was removed from the film and the new framing device added. However, each story bleeds into the next, so even in the released version, the story with Field and Cummings begins with Mardi Gras celebrants finding the dead body of the killer from the deleted story in the river. Universal later used the removed footage, padding out the running time and changing the ending, ultimately releasing it as Destiny in 1944.

1943's "Flesh and Fantasy" is included in the Brunas-Brunas-Weaver book UNIVERSAL HORRORS, and as such gained a distinction it probably never wanted. Unusual for the studio, it's an anthology film comprised of three tales about personal responsibility and shaping one's fate, with slight supernatural overtones. Like 1945's "Dead of Night" and its Amicus offspring, we have a framing story, the delightful Robert Benchley playing off against David Hoffman (the face announcing the 'Inner Sanctum' series). Story one stars Betty Field as a plain-looking woman whose belief in her own unattractiveness has left her lonely and bitter; a chance encounter with a bearded stranger (Edgar Barrier) offers her a mask to disguise her ugliness from the man she's loved from afar, who now recognizes her beauty during an evening of Mardi Gras. This seems a bit overlong even at a mere 27 minutes, but the second story breezes by quickly, top billing Edward G. Robinson as wealthy attorney Marshall Tyler, whose belief in an eccentric palmist (Thomas Mitchell) nets him the woman of his dreams, but an ominous future in discord. Only when pressed further does the prognosticator confess that Tyler is going to kill someone; he becomes so obsessed with who his victim should be that he neglects his beautiful bride-to-be (Anna Lee) and comes to a bad end. Story three pairs Charles Boyer and Barbara Stanwyck, but its drawn out shipboard romance is a letdown coming after the best segment. What was intended to be the first tale in a four-part anthology was excised and reshaped into a 64 minute feature, 1944's "Destiny," which may have been the most dazzling of all; judge for yourself. Unbilled bits come from Peter Lawford, Marjorie Lord, Jacqueline Dalya, Doris Lloyd, Ian Wolfe, Clarence Muse, and Grace McDonald (who played a different character in "Destiny").

A charming "anthology" motion picture, of the kind that was briefly popular in the 1940s. This one contains three stories, each of a supernatural bent. None really brilliant, but diverting.

The second piece was the best. This was based on a story by Oscar Wilde (not Noel Coward, as incorrectly stated in another review). Edward G. Robinson plays a lawyer haunted by a prediction that he will murder someone, and the always-watchable Thomas Mitchell is the palm-reader.

The first, with Robert Cummings and Betty Field in a story set in the Mardi Gras, is appealing in a naive way. The third segment, set in a circus, is the weakest. Charles Boyer an acrobat? No way.

This movie suffers somewhat from some of the most unconvincing studio-bound "locations" I have ever seen. I know, this was the 1940s and all that, made in the middle of the war, but puh-lease!

I finally obtained "Flesh and Fantasy" from someone who taped it off of television. What television, I don't know, since I have never seen it on TCM.

And God forbid that Universal should release it on DVD. Given that there are only 11 reviews, it doesn't appear that it's seen too often.

Charles Boyer coproduced this film, and one assumes that Julien Duvivier and he were friends, and he got Duvivier to direct. Good choice as he does an excellent job. Also, Duvivier had directed the successful anthology film, Tales of Manhattan.

The film begins with a discussion (by Robert Benchley and another man) about the truth of dreams, fortunetelling, superstition and the like.

Then three stories, ostensibly from a book, are told. The first is a story by Ellis St. Joseph, starring Robert Cummings and Betty Field, about a bitter, mean, ugly woman who dons a mask on Mardi Gras that makes her look beautiful.

The second story, Lord Arthur Savile's Crime, is by Oscar Wilde, about a fortuneteller (Thomas Mitchell) who tells a man (Edward G. Robinson) that he is going to commit a murder. The ending of this story was changed due to the Hays Code.

The third story, by Laszlo Vadnay, flows from the second one as The Great Gaspar (Charles Boyer) witnesses something at the end of the previous story.

Gaspar is a high wire artist who dreams that he falls, and in his dream, he sees a screaming woman (Barbara Stanwyck) who is wearing unusual earrings. He then meets her when the circus troupe is sailing abroad.

Each story explores some question: can fantasy become reality, can a prediction become a self-fulfilling prophecy, are dreams real warnings? Very entertaining, with good performances and direction, with three good stories.