ADAMO_ITALIANO

A film I still can't quite categorize. There's something about it that earned it the status of a legend in Italian cinema. The mysterious, almost mystical character of Fantômas quickly seeped into pop culture. At a time when people could only see superheroes in comic books, this kind of production burst onto the big screen and, in its own way, entertained society. But from today's perspective, and trying to be truly objective, this film lacks that essential spark - it doesn't really draw you in or invite rewatching. It's not much of an action film like Goldfinger, which came out the same year, nor is it quite a comedy - The Gendarme of Saint-Tropez comes to mind in that case.

A few aesthetically pleasing frames/shots might charm some viewers, but even the music fails to elevate the experience - I get the impression it's just a patchwork of random melodies. What keeps me from rating this film lower than 5 stars is the good-natured presence of Louis de Funès. Still, even he seems miscast - it feels like they took him out of the Gendarme universe and simply put him in a suit. At times, it even seems like he's the main character. Nonetheless, he manages to inject a bit of his signature humor into the film.

Throughout my life, I've experienced many theatrical performances-some better, some worse-and it's within that framework that we should evaluate this production: theater brought to the cinema or into our homes.

From the very beginning, we are treated to aesthetically pleasing shots and music. Accompanying the main character, we witness his internal transformation-from a dry, detached approach, uninterested in human rights, through a sense of superiority and self-importance, to an emotional father who, one could say, has found the meaning of his life. This, too, cannot be denied-the air is thick with nihilism mixed with an absurdity so striking it becomes amusing to an intelligent viewer.

Each act, before unfolding, is introduced by a shoebox, serving as a prelude to the encounter with the next character and establishing a recurring pattern. One might even find mythological parallels here, as the production is saturated with motifs that invite personal reflection. However, I believe there is a lack of emotional threads that could have built a stronger connection with the audience. As it stands, I don't particularly feel the urge to return to this performance.

It still never ceases to amaze me, even after all these years - the whole thing maintains a coherent composition from the beginning, the characters are simple yet incredibly charismatic, and the events surrounding them remain strikingly relevant. I also appreciate the numerous references to previous incarnations, experiences, or encountered characters. What sets it apart from other Japanese productions is its refusal to limit itself in terms of message - here, if we want to show a half-undressed woman in a given moment, so be it, only to shift a moment later to deep reflections on life. And the music? It's probably a masterpiece, with melodies that stick in your head.

Why doesn't it deserve 10 stars from me? Well, despite the prettier animation, to some extent it doesn't quite measure up to Part IV, which was full of drawn-out intrigue. Here, we get a slightly more relaxed take on the adventures of Lupin and his gang.