Malpertuis

Before seeing "Malpertuis" (1971), I was already a fan of Belgian director Harry Kümel for his mesmerizing Lesbian Vampire film "Les Lèvres Rouges" (Daughters of Darkness) from the same year. I had great expectations for "Malpertuis", because of my admiration of Kümel as a master of atmosphere, because I had heard the film was Kümel's greatest, and because of Orson Welles stared in it. Even so, it surpassed my hopes and totally blew me away. "Malpertuis" is a bizarre and hypnotic mixture of surreal Gothic Horror, macabre family drama, mad science and mythological fantasy, that no cult film lover should miss. Actually, I'd like to correct myself. The film cannot really be narrowed down by attributing it to a particular genre as such, as it is simply unique. In one sentence: The film has everything, and more than that. "Malpertuis" tells a fascinating tale and does so in a brilliantly moody manner. The film maintains a rich, eerie and foreboding atmosphere that becomes more intense with each passing minute. The sublime atmosphere comes along with breathtaking settings, brilliant cinematography, complex and demented characters and fantastic acting performances. The most fascinating thing about "Malpertuis", however, is the story, which is one of the most incomparable and gripping I ever saw in a film. "Malpertuis" is not a film that can properly compared to anything else. It is like a macabre, haunting yet incredibly beautiful Fever Dream.

The film is an adaptation of a novel by Jean Ray, which I haven't yet read, but the stroy certainly is a fascinating one. Jan (Mathieu Carrière), a young sailor, comes to his hometown and, without wanting to, visits the family mansion owned by his creepy and mysterious uncle Cassavius (Orson Welles). The mansion is named Malpertuis, its inhabitants are (equally creepy) relatives who hate Cassavius, but do everything to brown-nose him in desire of his inheritance. A mysterious palace of a mansion, bears fascinating and terrifying secrets... Though this is only a vague description of the film, I shall stop at this point. I do not want to give too much away, as the story is gripping and fascinating from the very beginning and should be experienced rather than read in a review. The set pieces are some of the greatest I've ever seen. The atmosphere is overwhelming, rich and uncanny throughout the film. Each character is fascinating, most of them creepy and demented, the performances are sublime. Orson Welles is, of course, great as always. The other performances are also magnificent. Particular praise has to go to the beautiful Susan Hampshire, who is wonderful in her triple role, playing three different female leads. The rich atmosphere profits from the Flemish /Dutch language and an ingenious score. The film was once reportedly cut to shreds, watching the uncut 126 minute director's cut is absolutely essential. "Malpertuis" is a brilliant film that should not be missed by anybody interested in cult cinema.

Yes, Malpertuis is extremely impressive, in my opinion the best Euro-horror movie! I read the Jean Ray book - which is by far my favorite horror writer - and the adaptation by Harry Kumel, altough not extremely tight to the novel, is quite decent.

Sadly, this movie is nearly impossible to find...

Based on a novel by Jean Ray, Malpertuis is a "haunted" house, unescapable by those who live in it. Characters hiding their true nature, disguised as a "family" to which sailor Jean-Jacques returns unwillingly. Susan Hampshire plays 3 different characters beautifully, and Orson Welles is the perfect actor to play the dominating shadow. The film has an unreal, nightmarish atmosphere, and goes far beyond the scope of the book. Malpertuis is a labyrinth whose secrets are kept behind locked doors, and reveals itself as the film reaches its climax. We come to realize that the mind has as many labyrinths as the house itself. Full of mythology, dimly lit and spooky as dreams use to be ("what is life but a dream?"), Malpertuis is a cult. Jung would have loved it.

That's what the title means;or at least,that's what the priest explains to Matthieu Carrière.The subtitle is overkill and was added for commercial reasons,probably unbeknownst to the director."Doomed house" is a stupid title:are we so sure it's the story of a house? Isn't it rather the story of a mind? of a fantasy? of a folly?

This poesque subtitle is not suitable for Jean Ray's world,who keeps a certain logic inside a nightmarish swarming of monsters,werewolves,Gorgons and mad scientists.Some of his obsessions surface here:the Gorgon,turning mortals into stone,the taxidermist working on alive bodies,are topics we find not only in "Malpertuis" but also in "the adventures of Harry Dickson" ,his favorite hero (he wrote dozens of stories of this detective and his pupil Tom wills)Prometheus recalls here how suffering and sadism were haunting the Belgian writer.Because Belgian,this definitely is.Kummel's closest relative is none other than his compatriot André Delvaux who quoted Jean Ray in his masterwork "un soir,un train".I urge the users who have liked "Malpertuis" to try "Un soir ,un train".It's the same kind of atmosphere,simply it's more mastered,the emotional power -cruelly lacking in Kummel's work- is increased tenfold .

"Malpertuis" has a dream of a cast:Orson Welles-in a short part,but he makes every of his word count-,Matthieu Carrière ,"Der Junge Törless" wunderkind,Susan Hampshire,Two Chabrol favorites (Michel Bouquet and Jean-Pierre Cassel,both in "la rupture" some months before),and,most amazing thing,French singer Sylvie Vartan and in a cameo(uncredited) her then-husband ,Johnny Hallyday.

The plot may be hard to swallow for horror buffs.It's a film "à tiroirs",and the ending has in store at least three unexpected twists.The last picture leaves the spectator bewildered.Hampshire and Carrière seem unreal,and the world that surrounds them is no longer a world in ruins,but a world that forgot he's in ruins.And what kind of world is it?

My hopes were high for this film. I'd seen Kumel's Le Rouge aux levres/Daughters of Darkness, the most stylish vampire/kinky sex movie ever made, and I love its sly wit and arresting visuals. Malpertuis is not as effective, alas, and I put that down to an overly-complicated story weighed down by too many classical references taken from the novel. Lampernisse, standing in for Prometheus, just doesn't work as a character. Why introduce the Erinyes, the three women who punished offenders against blood kin, when they don't advance the story? It's not an easy thing to watch a movie with a handbook of classical mythology by your side.

Having said this, I will add that it is wonderful to watch film that shows a great visual sophistication (crowd shots that evoke an Ensor painting, or that wonderful twisting staircase in the house) and never needs F/X. We have lost a great deal by the subservience to CGI today.