Century Film Project

Celebrating the movies our ancestors loved

Tag: Georges Guerin

The False Magistrate (1914)

Fantomas_1916A master criminal is helped to escape from prison by the very man who has been hunting him down and then uses his powers of disguise to become a respectable representative of law and order while his foe languishes behind bars. This final installment in the famed serial by Louis Feuillade is an exercise in reversals, deception, and brilliantly tortured logic.

At the beginning of the movie, Fantômas is incarcerated in a Belgian prison at Louvain, but that doesn’t stop his gang from robbing a Marquis who tries to sell his wife’s jewels. The gang gets away with the jewels and the proposed payment, an amount totaling 500,000 francs. Juve is convinced that Fantômas will remain a menace until he is caught by the French police and executed for his crimes, so he hatches a plan to help Fantômas escape! He visits Belgium in the guise of an Austrian inspector of prisons and smuggles in a prison guard’s uniform for him to wear, then takes his place while Fantômas lets himself out of the prison. Read the rest of this entry »

The Dwarf (1912)

Dwarf1This short movie by Louis Feuillade is included as a bonus with the release of Fantômas by Kino. It represents one of his “Life as It Is” movies, which were early attempts at film realism, as defined by one of his manifestos on film.

DwarfThe movie begins with several Intertitles, which explain to us that a new play, “The Virgin of Corinth,” has become a tremendous critical and popular hit, and at its performance, when the audience calls for the author, the management displays a card explaining that the script was submitted anonymously, and that no one knows the author by face or by name. The next morning, we see the beautiful star of the piece (Suzanne Grandais) arise and read all the positive notices about herself and the mysterious writer. Then, we see another person (Delphin, whose name means “dolphin”) reading the same reviews: but he is a man of perhaps only four feet in height. He lives with his mother (Renée Carl), and dreams of his love for Suzanne, but he knows she would reject him. Suddenly, he gets an inspiration to use the high technology of the telephone to call her. If she only hears his voice, she will fall in love with his words, and perhaps someday overcome her reaction to his true size. He calls her, she is thrilled to receive a call from so talented an artist, and the moreso since he maintains anonymity in the world. We see a group of (female) telephone operators listening in on the call – to judge by their faces, it gets pretty hot. Suzanne has connections, however, and is able to discover the address of her mysterious caller. She goes to visit him, and meets his mother. Renée tells her son of his visitor, and he swallows his fears and goes out to meet her. The response, of course, is crushing. Suzanne laughs at him openly, and at herself for being so easily fooled. Renée tells her to leave, and tries to console her son, knowing that a mother’s love is no substitute for the love he has lost.

Pretty cool for 1912.

Pretty cool for 1912.

While the movie is largely typical in style for its time, there are some interesting aspects to it. Perhaps the most exciting for me was the use of a split screen to demonstrate the telephone call – a tactic that remains in use today. Feuillade handles it by dividing the screen into three segments: with Delphin on one side and Suzanne (in her bed – racy stuff!) on the other. In the middle is a shot of the Champs-Élysées facing toward the Arc de Triomph, seeming to signify that “Paris” stands between the two telephone sweethearts. I’m not going to say that this is the “first” time a split screen was used to show a telephone call – quite possibly I’ve seen other examples already – but it is a very interesting use of the concept, and seemingly original to Feuillade. Apart from this is the very fact that the little person is used not for comedy or to emphasize his “strangeness” as in a freak show, but with sympathy and as a tragic figure, a brilliant artist trapped inside a body that the world cannot appreciate. Even in much later years, shorter actors would still be playing monsters and clowns rather than protagonists of serious story lines. Finally, I found it amusing that the cliché of the snoopy telephone operator had been established so soon after the introduction of telephone technology. I think this is one of the better “Life as It Is” movies that I’ve seen from Feuillade, and I’m glad it was included on the disc, reminding audiences that he did much more than crime serials.

Alternate Titles: Le Nain

Director: Louis Feuillade

Camera: Georges Guérin

Cast: Delphin, Renée Carl, Suzanne Grandais

Run Time: 16 Min

You can watch it (in two parts) here and here.

The Murderous Corpse (1913)

Murderous CorpseHere at the end of October, I’ve chosen to return to the series I started out with to close out this year’s discussion of the history of horror film. While Fantômas may not meet a strict definition of “horror movie,” the crime serial undeniably influenced the imagery and methods of later horror directors, and titles like “The Murderous Corpse” certainly evoke the conventions of the later genre.

Murderous Corpse1The movie begins by catching us up on the series, telling us that Fantômas (played by René Navarre) destroyed the villa in which he had been hiding, hoping to kill those who were pursuing him, but, of course, the heroic Fandor (Georges Melchior) escaped with minor injuries, from which he recovers in the hospital. Juve (Edmund Breon) is missing and presumed dead. We see a criminal gang at work smuggling, and then Fantômas murders a baroness, cleverly framing the artist Dollon (André Luguet) for the crime. Dollon is mysteriously murdered in prison, but not before the police make a big production of taking his fingerprints and other physical data. Fantômas, with the help of a bribed guard, then removes the body from the prison. This makes it all the more baffling when the dead man’s fingerprints are found at other crime sites! In Juve’s absence, Fandor continues to investigate on his own, while a mysterious lowlife named Cranajour seems to take an odd interest in him, all the while working with the gang of Mother Toulouche, who is clearly in cahoots with Fantômas somehow. Meanwhile (everything in a Fantômas movie is happening “meanwhile”), the banker Nantauil shows up at an important society dance and creeps around the house until he is alone with the hostess, princess Davidoff (Jean Faber), knocking her out with chloroform and stealing her valuable pearl necklace – Nantauil is just another disguise of the master of crime, Fantômas! Naturally, he leaves one of Dollon’s fingerprints on the lady’s neck as a clue, leading to the first indication that a dead man is now a criminal mastermind. Renée Carl, as Lady Beltham, again appears, seeking an audience with the banker Nantauil, and is instructed to transport two pearls and the necklace, using them to attempt to get a ransom from Thomery (Luitz-Morat), the princess’s fiancée. This turns out to be another ruse, allowing Fantômas to murder Thomery, leaving behind another false fingerprint. Meanwhile (once again), Elizabeth, the sister of the dead man (Fabienne Fabrèges) has found a note which appears to outline Fantômas’s insidious plan, and of course she’s being stalked for it. Will Fandor save her? Will inspector Juve be found? Will we learn the secret of Cranajour? Will the police ever figure out how Fantômas has set up the corpse of Dollon?

Murderous Corpse2Well, if you’ve made it this far, you probably know that the answers to all of those questions is, “yes.” trick of making gloves from a dead man’s hands is probably one of the more believable ones Fantômas uses in the series. Cranajour is, of course, Juve in disguise, and for once he actually does look pretty different under the makeup. Fantômas and his gang are able to kill several people and steal a necklace, but overall their operations are curtailed by the good guys, while still allowing him to escape and continue the series another day. This episode is quite long, as long as a standard feature film is today, which is quite a change from the shorter episodes I’ve been seeing from “Les Vampires” lately. It isn’t as laden with iconic imagery, I’ll grant you that, and the absence of Juve seems to leave it without a center to a large degree. Whose story is this? Sometimes it is Fandor’s, sometimes Elizabeth’s, but for the most part is belongs to Fantômas. The camerawork is fairly static in this one, though with somewhat more interesting angles than we see in American studio work of the time. The sets are beautifully decorated and again I find the exteriors exquisite (this may just be because Paris was so attractive in the early twentieth century). I have grown rather fond of the music that Gaumont chose to use from a library as the background score, although I said at first that it was sometimes overwhelming; it is distinctive and playful. The editing is unimaginative and there is a heavy reliance on intertitles and especially close-ups on written documents to keep the audience informed as to what’s going on. Despite some of this clumsiness or seeming-clumsiness, it’s still a fun movie, and I do like Fandor better than his dull counterpart in “Les Vampires.”

Murderous Corpse3That’s all for this year’s Halloween special! Next week, I’ll be back to normal, trying to make up for lost time as we get into Century Awards Season for 1915!

Alternate Titles: Le Mort Qui Tue, Fantômas III: Le Mort Qui Tue, The Dead Man Who Killed.

Director: Louis Feuillade

Camera: Georges Guérin

Cast: René Navarre, Georges Melchior, Edmund Breon, Renée Carl, André Luguet, Jean Faber, Luitz-Morat, Fabienne Fabrèges.

Run Time: 90 Min.

I have been unable to find this for free on the Internet. If you find it, please comment.

Juve vs Fantômas (1913)

Juve_versus_Fant_masFor my first “feature film” for October’s history of horror movies this year, I decided to return to the series I watched when I started this blog. While I did discuss the series and reviewed the DVD collection from Kino Lorber, I haven’t ever gotten around to doing each of the movies. This is the first “sequel,” the immediate follow-up to “Fantômas: Shadow of the Guillotine.”

Juve vs FantomasThis episode begins with a brief re-cap of the previous one, establishing that Inspector Juve continues his hunt for Fantômas with the aid of the reporter Fandor. They follow a woman believed the be connected, and Fandor manages to be on the scene when Fantômas’s gang holds up a railway car to get the money being transported by her lover, a bank agent. Unfortunately, he doesn’t prevent Fantômas from wrecking a train or getting away. Juve and Fandor both get messages leading them to a dockside warehouse, and shoot at each other, each mistaking the other for Fantômas. Then, the real gang springs up from behind barrels and starts shooting at them. The gang sets fire to the barrels and leave them to burn, but Juve and Fandor get into an unlit barrel and roll into the water, swimming away to safety. They make another attempt to arrest him when he meets the woman at a club called “The Crocodile,” but Fantômas escapes by putting on false arms, and running away as they lead him to a police car, leaving them holding his arms! He then returns to the Crocodile and finishes his evening in peace. Next, Fantômas makes contact with Lady Beltham, his lover from the previous movie, and they begin meeting at her now abandoned estate. Juve and Fandor put on disguises and take a tour of the place, posing as prospective buyers. They figure out a way to hide in a heating duct and listen in on Fantômas and Beltham. They learn that Fantômas plans to kill Juve in four days time with his “silent executioner.” This makes Juve think of a crushed body from an earlier case, so he takes the precaution of putting on armor with nails sticking out that makes him look like a middle-aged member of Immortal. Sure enough, when the boa constrictor enters through the conveniently open window, it is unable to get a crushing grasp and leaves in defeat. Now, Juve and Fandor bring a contingent of policemen to the estate and try to catch Fantômas, who eludes them by hiding in a cistern and breathing through a bottle with no bottom. While Fantômas’s worst plans have not paid off, he remains at large.

Juve vs Fantomas1Once again, I have to return to the question of, “is it a horror movie?” Not exactly, it’s a thriller about a super-genius villain and his almost equally clever pursuer. But, I have to think that horror film makers drew from the imagery and ideas of these movies in later years. Fantômas may not be a “monster” in the strict sense, but he calls himself a phantom and has a distinctly frightening costume. He often brings about multiple deaths as he does in this episode, and he hides in haunted houses and abandoned places. In this case, he even uses a snake for a weapon, and his power of disguise makes it possible for him to be anyone.

Juve vs Fantomas2

Snakes and spikes? How many Black Metal bands saw this movie?

The movie, like all of Louis Feuillade’s work, is very well done technically and a visual feast. I particularly enjoyed his exteriors of century-past Paris. He isn’t shy about using close-ups and camera movement, which adds to the excitement. The depth of field of some shots impressed me, particularly in the night club, in contrast to the difficulties Billy Bitzer had with deep focus in “The House of Darkness.” One criticism I have is that there is a heavy dependence on Intertitles and close-ups on documents like letters to explain the story, particularly at the beginning where an especially long letter backfills the audience on what happened in the previous episode. Probably unavoidable, but somewhat dull. Surprisingly, the big action sequences are some of the least interesting visual moments, in part due to the weakness of the special effects of the time. The train crash is handled with a tiny model train and the barrel fire mostly consists of smoke, in contrast to the lovely poster above. I wondered a bit about the frame rate of the transfer – at times it seemed to me that the movie was unnaturally slowed down, and I wonder if they over-compensated for earlier sped-up versions by playing it at a slower speed. The story is, as usual, impenetrably complex and contradictory. At one point, the police are not certain whether a body they have discovered is Lady Beltham, half an hour later, they are releasing her (alive) for “lack of evidence” with no explanation in between. That sort of thing has long been part of the charm of the series, however, so I won’t hold it against the movie.

Juve vs Fantomas3

Alternate Title: Juve contre Fantômas

Director: Louis Feuillade

Camera: Georges Guérin

Starring: René Navarre, Edmund Breon, Georges Melchior, Renée Carl

Run Time: 1 hour, 2 min

I have not found the entire movie available free online. You can watch about half of it: here. If you find a free version, please say so in the comments.