La máscara de Dijon

Erich von Stroheim stars in The Mask of Diijon from 1945, directed by Lew Landers.

Diijon is a former magician who is studying the power of the mind, to the dismay of his partner and wife Victoria (Jeanne Bates). She can't find a job, and he refuses to work. When her ex-accompanist Tony (William Wright) shows up, he arranges for them to work at his club. It's a disaster, but Victoria stays on as a singer.

Thoroughly jealous of Tony, Dijjon tries a hypnosis technique out, then hypnotizes Victoria so her song will end in a spectacular manner.

Lousy cheap production but von Stroheim is always effective. And of course learning hypnosis from a book and convincing people tondo all manner of things is ridiculous.

However, as others have pointed out, the finale is not to be missed! Total genius. Splendid performance by Sheba the cat.

World famous stage magician Diijon (Erich Von Stroheim) has retired, having performed the greatest trick of his career: getting babe Victoria (Jeanne Bates) to marry him. Diijon now dedicates his time to studying the power of suggestion and hypnotism, but treats his wife like dirt, which leads to the poor woman leaving, becoming a singer and teaming up with dashing musician Tony Holiday (William Wright).

Consumed with jealousy, and having finally perfected his powers of mind control (testing his ability by disarming a stick-up artist and commanding a man to commit suicide), Diijon hypnotises Vickie into shooting Tony in front of an audience at the Romany Gardens restaurant.

A poverty-row B-movie from PRC, The Mask of Diijon is a rather routine potboiler lifted somewhat by a commanding performance by Von Stroheim, who lives up to his nickname 'The Man You Loved to Hate': Diijon is dour, cruel, menacing and thoroughly unlikeable, which makes the film's finalé, in which the miserable mesmerising magician meets a grisly fate, suitably satisfying.

5.5/10, rounded up to 6 for IMDb.

It is rather well known that you cannot force anyone to do anything under hypnosis that they will not be willing to do themselves when of their own free will. Unfortunately that bit of reality which audiences in 1946 knew well that keeps The Mask Of Dijon from becoming a top flight melodrama. The cheapness of a PRC production also doesn't help.

They combine to defeat the incomparable Erich Von Stroheim who is playing a formerly great magician with an insane jealous streak that makes Othello look well adjusted. His Desdemona is Jeanne Bates a nightclub singer who runs into her old accompaniest William Wright who persuades her to come back and take Von Stroheim's rusty magic act as a package deal.

What both don't know is that Von Stroheim has been studying the art of Mesmer and he's going to use that to settle old scores, real and imagined. I can't say much more, but I will agree with another reviewer who did love the ending that Von Stroheim met.

Would that the rest of the film was that good.

No one will ever accuse THE MASK OF DIIJON of being a landmark thriller/drama/noir/whatever. But this film deserves the honor of having the all-time greatest final 30 seconds in the history of cinema. To reveal its wonderful climactic secret would be to rob the viewer of easily the best moment in the whole film, so I will resist, but it's all more worth watching than one might think.

Erich Von Stroheim chews up every scene he is in, which is the bulk of the picture, and this is a good thing. Anyone who adored him as Max Von Mayerling in SUNSET BLVD. knows full well that there isn't really any such thing as a bad Stroheim performance. He even smiles and laughs - admittedly rather briefly - in THE MASK OF DIIJON.

And the film is, for all its faults in narrative, an inevitably fascinating ultra-cheapie. The very fact that Stroheim committed to the project at all raises eyebrows; he treats the whole picture as a gag and is arguably the only sparkling performer in the whole project, and must have known this. The very opening sequence shows his character reduced to peddling cheap carnival tricks (and in doing so, tricks the audience by creating a fake beginning to the film), so there had to be an air of self-consciousness here, considering that the main conceit of the film (the power of hypnosis) is entirely preposterous. And there are a handful of nice touches throughout, particularly an outlandish sequence where Stroheim hypnotizes a would-be robber and stops the crime cold.

It's all a sublimely ridiculous tale, never believable for a moment, and pure entertainment. And it has the greatest ending ever. Trust me.

The year 1946 was one of the best for great movies, giving us such winners as The Best Years of Our Lives, The Strange Loves of Martha Ivers, and Canyon Passage. Unfortunately The Mask of Diijon was not one of these.

Bizarre actor-director Eric Von Stroheim had his triumphs in a long career, which dated back to the early silent era -- as a director, Foolish Wives (1922), The Merry Widow (1925) -- as an actor, The Grand Illusion (1937), Sunset Blvd. (1950). Unfortunately The Mask of Diijon was not one of these.

Showing up in Hollywood just before World War I, Stroheim excelled playing cruel German officers with his trademarked shaved head and monocle. He passed himself off as an Austrian aristocrat and a military expert, claiming he had served as an officer in an elite cavalry regiment. In reality he was from a respectable Jewish lower middle class family, and the closest he got to the cavalry was a brief stint as a mounted mail carrier. Never mind, the self-made legend was born, and it stuck to him all his life. He was billed as "the Hun" and "the man you love to hate." His career as a director was over by the late twenties. After several expensive flops, studio bosses were tired of his extravagant ways and his egotistical, abrasive personality. He continued on as an actor though, on occasion rising out of mediocrity with such as The Grand Illusion (1937) and Five Graves to Cairo (1943), in the latter of which he played German Field Marshal Erwin Rommel!

The Mask of Diijon is a long way down from those days, possibly Stroheim's darkest pit with the light of Sunset Blvd four years distant. This is a very cheap production. No-name actors, except for "the Hun", cheap sets, bad lighting, and awful script. The use of many dark scenes that some people may mistake for arty noir style is obviously just the result of not wanting to spend the dough for bright lights. Murky was the word all the way through. The acting was uninspired but not terrible, especially considering the cast got maybe 20 seconds per scene to rehearse in a budget-minded number like this. The story was the real killer though. Disturbed, paranoid magician uses hypnotism to get innocent victims to do his will, including suicide and murder. His hokey method of hypnotizing these clucks is simply reflecting off a shiny lighter into their eyes and mumbling something like, "You vill do vatefer I say!" And get this -- he learns this evil, occult skill simply by reading some books with self-help type titles something like How to Control People with Your Mind. Puleazee!!! If it were that easy to hypnotize people, I would have my grouchy old wife packed and down the road tonight, and by tomorrow night I would have a half-dozen young babes cavorting about my house! Come to think of it, I would have to hypnotize myself into being able to cavort. Never mind.

There were a few good moments in The Mask of Diijon, but I found myself continually praying the 70 minutes would finally drag to an end (I'm one of those masochist types who can't just turn one off). This movie is a stinker -- only for Von Stroheim devotees or desperate insomniacs.