Showing posts with label Judex (1916). Show all posts
Showing posts with label Judex (1916). Show all posts

Wednesday, 6 November 2024

Watching the detectives… Louis Feuillade: The Complete Crime Serials (1913-1918), Blu-ray

 

Louis Feuillade not only popularised the dramatic serial as we still know it, he did so during a period when his country was at war with the majority of these four epic series made during the Great War either in and around Paris or in the relative safety of Nice. In truth the form had many parents across the cine-world with America providing The Perils of Pauline starting in 1914 and Edison's – or someone’s - What Happened to Mary in 1912 then Germany, Viggo Larsen's Arsène Lupin contra Sherlock Holmes in 1910 and even earlier, in 1908, the French with Victorin-Hippolyte Jasset launching his series of six Nick Carter films: le roi des detectives! Carter le roi? Je ne pense pas, messieurs... cet homme vit à Baker Street!


Anyway, using the same techniques as these great and not so great detectives, Feuillade evolved the cinematic style across four series, Fantômas, Les Vampires, Judex and Tih Minh all of which left their mark and established motifs that have been used ever since. Some have been available on Blu-ray overseas but for the first time in the UK Eureka’s Masters of Cinema series has now pulled all together in one luxurious and absolutely essential box set celebrating the birth of the box set in many ways!


The films have all been transferred from 4K restorations from original 35mm nitrate originals where possible and the results create such an immediacy and connection with the material, it almost feels like you’re clambering on a roof top with Irma Vep, with the distant sounds of German guns only 70 kilometres away at one point, with the First Battle of the Marne, in September 1914.


 

René Navarre in disguise as Fantômas, the master criminal!


Fantômas (1913)


Adapted from a series of popular novels by Marcel Allain and Pierre Souvestre, Fantômas stars René Navarre as the eponymous criminal mastermind. Across the serial’s five episodes, Fantômas is pursued by Inspector Juve (Edmund Breon) and newspaper reporter Jérôme Fandor (Georges Melchior) as he carries out his nefarious schemes. As Kim Newman says in his video essay on the set, Fantômas is a supervillain, a “fusion of Professor Moriarty and Sherlock Holmes…” He’s certainly a master of disguise with each episode opening with Navarre in the disguise he will use in each story and, as Newman observes, we never really find out exactly who he us. He’s a universal and uncatchable master villain.


Each episode features Detective against Villain… and cliff-hangers are the order of the day. Fantômas is relentless and Juve is always one step behind. The serial was hugely successful and spawned many impersonators in print and on screen with both the public and, Newman again, the intellectuals, the surrealists attracted by the anarchy and the anti-establishment agenda.

 


Feuillade filmed so often on location, here at Avenue Junot...



Les Vampires (1915-1916)

 

Most people’s first introduction to Feuillade and probably the best and most entertaining of this set, the ten-episode Les Vampires tells of a group of vicious criminals who terrorise Paris, stopping at nothing to gain money and to disrupt the powers that be. They are led by the Grand Vampire (Jean Aymé) who adopts different guises and disguises in most episodes and his key operative (possibly even superior?) is the anagrammatical Irma Vep, played with such vibrant menace by Musidora (the rightfully legendary Jeanne Roques*), who helps to infiltrate elegant society, financial institutions and even the hero’s household for the Vampire cause. She is, as Newman says, the first female super villain, years ahead of Cat Woman and in every way transgressive – a challenge to audience and mankind from her first appearance on stage rousing the gathered gang members.

 

The hero in pursut is not a policeman but an intrepid reporter – one of the first of his kind - Philippe Guérande (Édouard Mathé) who is mostly helped (occasionally hindered) by the comic Mazamette, knowingly played by the fourth wall busting Marcel Lévesque who moves from working with the criminals – his family being under threat. It’s not the first example of characters’ mutability in the free-running serial that sees an ever-changing battle between the forces of order and disorder.

 

Les Vampires also had to contend with costumes of silk and wool with elasticated fabric still scarce...


As film scholar Elizabeth Ezra says in her video essay, the serial included a number of references to the ongoing conflict beyond with code breaking, gas attacks and other weapons of war such as the canon in episode seven and the exploding ship in episode eight all to redolent of events so close and yet, cinematically, so far. So many men were mobilised too and the original Vampire leader had to be called off, after the actor playing him, Louis Leubas, was called up.

 

Another fascinating observation from Ezra relates to the multiple personalities each character potentially presents, with this being an extension of paranoid delusion, Capgras Syndrome patients traumatised by the loss of loved ones belived that those around them had been killed and replaced by imposters in their bodies. Les Vampires is therefore full of people who are not quite as they seem, and there is frequent reference to loss, the serial may not specifically mention the conflict but it’s “haunted by the war” in Ezra’s words.

 

René Cresté, Édouard Mathé and Louis Leubas in Judex; secret lair


Judex (1916-17)

 

Judex is probably the first Masked Avenger – essentially a good version of Fantomas/Musidora possibly after an official reaction to the criminality of the first two serials. At this year’s Il Cinema Ritrovato Festival in Bologna, I was able to watch the screening of the entire series – 12 episodes plus prologue - with live accompaniment which really brought out the full flavour of Feuillade’s sense of drama, his eye for dynamic framing, and his team building and his ability to keep the narrative ball rolling even when you think he’s backed himself into a dramatic dead end.

 

It's not quite up there with Les Vampires but it does have the essentiality of Musidora playing Diana Monti aka Marie Verdier, a scheming opportunist who becomes more and more dominant the longer the story unwinds. Judex himself as played by René Cresté, is a goodie version of Fantômas, part Sherlock Holmes, maybe part Eugène-François Vidocq – an actual French criminal turned criminalist - certainly an outlier for The Shadow, Doc Savage and even The Batman. Feuillade had been criticised for glorifying his evil masterminds and so here was one of good intent even if he does kidnap and fake the death of the businessman responsible for his father’s death and many others, Favraux (Louis Leubas) before imprisoning him for life in a remote castle.

 

Judex has worked a very long game, disguised as Favraux’s secretary, to infiltrate his business dealings. His plan is soon complicated when he falls in love with the banker’s daughter, Jacqueline (Yvette Andréyor) who is soon targeted by the evil Monti! There’s great support from Vampires’ alumni Édouard Mathé as brother Roger and Marcel Lévesque as the comedic Cocantin whose swimming-costume clad fiancée Miss Daisy Torp (Lily Deligny) helps save the day. The kids are alright too and Le petit Jean (Olinda Mano) and The Liquorice Kid (Rene Poyen) deserved their own series!


René Cresté and Mary Harald
 

Tih Minh (1918)


Tih Minh is a change of pace - and technically the most polished - with a new cast of characters and a number of Feuillade’s regular cast playing them again. Set in the South of France the focus is on the goodies again with explorer Jacques d'Athys (René Cresté) who has returned from the Orient with a new fiancé from Laos, Tih Minh (Mary Harald) – a half Vietnamese heroine, interesting in itself - to be greeted by his mother (Madame Lacroix), sister Jane (Lugane) and maid Rosette (Jeanne Rollette) who is romancing his faithful, cheeky, manservant Placido (Georges Biscot).

 

The baddies are the mysteriously bearded “Asian” Kistna (Louis Leubas), Doctor Gilson (Gaston Michel) and the La marquise Dolorès (Georgette Faraboni) who has the real dash of stylish super-vixen, biting a rose with menace in the introductory segment. What they’re about is disrupting the old order… undermining the British Empire and controlling minds with chemical concoctions. They also hold a cellarful of chemically controlled young women… for what purpose we can only guess but there is some nudity revealed at this point… and, whilst you’d never see that in a British or American film at this point, it is a reminder that down the same avenue as entertainment is the darkened rue latérale of exploitation.

 

This serial looks stunning and it’s rare to see such detail and to feel the century melt away as you watch the performers inhabit their roles and the familiar spaces of Nice, with such clarity. The Palais de la Jetée and the beautiful Crystal Casino may be long gone but this is very much a travelogue for the jewel of the Riviera, magnificent views, glorious mansions and the warm breeze of a Mediterranean mistral running through the relentless, narrative parkour, pace of the storyline.

 

Without doubt as film historian and author David Kalat says in his commentary, Feuillade’s crime serials had a huge impact on Fritz Lang who responded with Dr Mabuse, Spies and much more not to mention Alfred Hitchcock and everyone that came after. The influence spread also to pulp magazines – The Shadow – as well as comic books, radio, television and one of the most successful Caped Crusaders also known as Bruce Wayne.

 

Musidora in command, hands on hips, sleeves rolled up...


Join me in investigating these suspiciously special features…

 

·         Limited Edition Hardcase Box Set [2000 copies]

·         Set includes all four serials across 9 Blu-ray Discs, all presented in 1080p HD from stunning 4K restorations courtesy of Gaumont Film Company, with uncompressed LPCM 2.0 audio on all serials

·         Fantômas – audio commentaries on In the Shadow of the Guillotine and Juve vs Fantômas by film historian and author David Kalat

·         Les Vampires – new audio commentaries on The Red Cipher and The Spectre by film historian and author David Kalat

·         Judex – new audio commentaries on the prologue, The Mysterious Shadow, Atonement, The Water Sprite and The Forgiveness of Love by genre film expert and Video Watchdog founder Tim Lucas

·         Tih-Minh – Brand new audio commentaries on The Potion of Forgetfulness, The Mysteries of Circé Villa and Justice by genre film expert and Video Watchdog founder Tim Lucas

·         Casting a Long Shadow –  new interview with critic and author Kim Newman

·         Pamela Hutchinson on Musidora –  new interview with critic, film historian and silent cinema expert Pamela Hutchinson on the star of Les Vampires and Judex

·         The Spectre of War in Les Vampires –  new video essay by film scholar Elizabeth Ezra, editor of European Cinema and France in Focus: Film and National Identity

·         Feuillade in Context – a new interview with writer, composer and silent film accompanist Neil Brand

·         A Closer Look at Feuillade – Brand new interview with critic, writer and film commentator Tony Rayns

·         Fold-out poster – yay!!

·         A limited edition 100-page collector’s book featuring new writing by Louis Feuillade experts Jonathan Rosenbaum, Calum Baker, Annette Förster, Wendy Haslem, Robin Walz and Leon Hunt on the filmmaker and his crime serials alongside select archival imagery

 

The set is released on 11th November and can be ordered direct from Eureka, not home should be without it. As Neil Brand says in his video essay on the director, not only are these lengthy series with their lose plotting – “one damn thing after another” – enthralling and still engaging, they’re also a social document of the Third French Republic, the war years and the development of one of the most enduring genres in cinema. Where would The Avengers be without HYDRA or James Bond without SPECTRE? And just where would Netflix, Apple TV and everyone else be without crime and punishment? Where would any of us be? This is one to binge and relish. But you know that already.

 

*For more information on Musidora visit the Womens Film Pioneers Project pages and follow on from there. Pamela Hutchinson’s video essay on this Eureka set is also thoroughly recommended!





Sunday, 7 July 2024

Day by Day in Bologna… Il Cinema Ritrovato XXXVIII

Catherine Deneuve is the cover girl from The Umbrellas of Cherbourg

 

OK, after catching up on work and sleep, what was my pick from eight days of relentless cinema, meeting some of the finest cinephiles in the world and an unquantifiable amount of coffee, brioche, ragu and, dear reader I must be honest, Aperol Spritz. In no particular order, these are my personal highlights, from a festival you start off with the best of intentions, 6-7 sessions a day for eight days, what could go wrong? Answer: nothing, the Ritrovato experience you get is the one that you deserve and the one that suits you best!


 10.   Kohlhiesel’s Töchter/Kohlhiesel’s Daughters (1920), with John Sweeney, Il Cinema Modernissimo

 

The funniest thing of the week and a major Lubitsch I had yet to see featuring Emil Jannings acting his age and being charming as part of a couple of chaps trying to woo sisters played by Henny Porter who proves what a superb talent she was, not only with her highly persuasive physicality but also timing. She plays the kind-natured Gretel who wants to marry but, following her father’s instructions, can’t until her elder sister, Liesel (also Henny), weds first. The problem is that Liesel is as bitter as her sibling is sweet and more of a match for either Jannings’ Peter or Gustav von Wangenheim’s Paul by any measure.


It's fast-paced and utterly charming and very much cut from the same cloth as the Ossi Oswalda comedies and those with Pola Negri which the director made before and after. Shot against an alpine background by Theodor Sparkuhl, it was the feel-good hit of the week which I thought I’d missed only to find it re-played on the last day.


John Sweeney’s playing was on another level, i.e., the same at the film’s, and his emphatic flourishes continued to fill the gorgeously restored Modernissimo right till the end of the credits. I trust it won’t be long before we see Lubitsch’s 34th film (including shorts) screening in London with John playing as a pre-requisite!


Emil Jannings und Henny Porten


9. It’s a family affair… Judex (1915-16), accompanied by many hands, Cinema Mastroianni


On the final Saturday as all the mystery and loose ends were tied up I emerged triumphant from the Mastroianni having watched the whole series and thoroughly enjoyed Louis Feuillade’s sense of drama, his eye for dynamic framing, his direction and team building and his ability to keep the narrative ball rolling even when you think he’s backed himself into a dramatic dead end. That’s 12 episodes and one big Prologue with not a second missed for lack of sleep, breakfast or headache… probably!


It's not quite up there with Les Vampires but it does have the essentiality of Musidora playing Diana Monti aka Marie Verdier, a scheming opportunist who becomes more and more dominant the longer the story unwinds. Judex himself as played by René Cresté, is a goodie version of Fantômas, part Sherlock Holmes, maybe part Eugène-François Vidocq – an actual French criminal turned criminalist - certainly an outlier for The Shadow, Doc Savage and even The Batman. Feuillade had been criticised for glorifying his evil masterminds and so here was one of good intent even if he does kidnap and fake the death of the businessman responsible for his father’s death and many others, Favraux (Louis Leubas) before imprisoning him for life in a remote castle.


Judex has worked a long game, disguised as Favraux’s secretary, to infiltrate his business dealings. His plan is soon complicated when he falls in love with the banker’s daughter, Jacqueline (Yvette Andréyor) who is soon targeted by the evil Monti! There’s great support from Vampires’ alumni Édouard Mathé as brother Roger and Marcel Lévesque as the comedic Cocantin whose swimming-costume clad fiancée Miss Daisy Torp (Lily Deligny) helps save the day. The kids are alright too and Le petit Jean (Olinda Mano) and The Liquorice Kid (Rene Poyen) deserved their own series!

 

Musidora, aka Jeanne Roques


8. Quo Vadis? (1924) with Neil Brand, Eduardo Raon and Frank Bockius, Cinema Mastroianni


This was an attempt to repeat the pre-war success of the Italian epic’s including Enrico Guazzoni’s massive 1912 adaptation of Henryk Sienkiewicz’s 1895 novel, Quo Vadis: A Narrative of the Time of Nero. It was an Italian German co-production followed on with a cast of thousands, gigantic sets (real and constructed) and the combined star power of Lillian Hall-Davis’ nuanced emoting and Emil Jannings’ protean excess. Larger than life and twice as tiring, his Nero offers Lillian’s frail Licia the world and we cower behind her in the darkness as her faith rises up as the only defence against the monstrous ego of the man who is Empire.


It's saucy in a Cecil B DeMille way with snatches of nudity and a-typical sexuality along with elaborate displays of Roman cruelty which peaks in the Colosseum and in a genuinely gripping chariot race that hasn’t been seen in the length or detail for many years until this superb restoration. It’s a thoroughly enjoyable effort that was surprisingly not a success at the time, perhaps too opulent for German audiences and too close to the bone for the newly fascist Italians… I’d love to know more about how it was received in those early days of Il Duce…

 

Neil  Brand accompanied across the two parts on piano assisted by Eduardo Raon on harp for part one and Frank Bockius on drums for the epic finale on drums… the players were perfectly aligned with the momentum of the film with Rome’s dangerous beauty giving way to death and destruction and ultimate martial revenge by the end of a story that had already been told many times.

 

Emil harasses our Lil'!


7. He Who Gets Slapped (1924), with Laura Agnusdei, Simone Cavina, Stefano Pilia and Antonio Raia, Il Cinema Modernissimo


Of films I had already seen multiple times, this, The Wind, The Last Laugh et al, I was most interested in seeing this one having missed it recently at the Kennington Bioscope. In the plush Modernissimo it was accompanied by an ensemble featuring Laura Agnusdei (tenor sax and electronica), Simone Cavina (percussion and electronica), Stefano Pilia (guitar and electronica), Antonio Raia (sax, chalumeau/clarinet and “oggetti” … objects?), whose modern stylings overlayed and enhanced the action on screen in new ways.


That said, this is one of the hardest-hitting Hollywood films of the twenties as you’d expect from the mighty Victor Sjöström, certainly the most successful Swedish director in the US who was able to maintain his approach across this and work with Garbo and Gish. Here he brings out the full flavour of Lon Chaney in a film that breaks your heart which as Ehsan Khoshbakht describes in the catalogue as about the act of “de-clowning… only the vile and ignorant laugh at the clown”. As my friend, the poet Ged Griffith, used to say after a few Jamesons, “Life’s a walking shadow, nah-nah, na-nah-nah…”


Lon Chaney: if you don't have a fear of clowns, perhaps you should re-consider?

 

6. The Searchers (1956), Piazza Maggiore


I only managed two screenings at the big Piazza this year as a result of rain and other distractions but Coppola’s Conversation was not as engaging on the grand screen as John Ford’s masterwork. Rarely has John Wayne been this monumentally frightening, dark eyes staring out across the vastness of the west in search of revenge and the restoration of his culture. There’s some jokey sequences but nothing really dents the full force of this film which continues to evolve in its meaning as the West in general seeks answers to the same issues of invasion, cohabitation and peaceful evolution. This is a film made at a time closer to the tail-end of the Wild West in the 1880s than to now, struggles still just about in living memory for a United States still ill at ease with its diversity.


Screened from 70mm on the biggest screen the film was introduced by Wim Wenders who has made the pilgrimage to Monument Valley, Arizona and wondered at the audacity of filming entirely at this location. It was something to view in a fresh light, immersive and impactful making us feel the filmmakers’ anew with even the plastic seats not distracting from the two hours on mental horseback.

 

The big country

 5. Chemi bebia/My Grandmother (1929), with Cleaning Women, Il Cinema Modernissimo


Due to unseasonal rain, this screening of Chemi bebia (My Grandmother) was moved from the Piazza Maggiore to the Cinema Modernissimo which only served to amplify the intensity of Kote Mikaberidze‘s film and the extraordinary accompaniment of Finland’s Cleaning Women. Now then modern scores for silent films can be controversial but this film is so out of time with its Dadaist energy that an avant-alt-post-rock-post-jazz-experimental-industrial set played by a group consisting of three cleaning robots (CW01, CW03 and CW04) ended up being perfect.


Chemi bebia defies easy summation and that’s from one of the only two people in the stalls who had seen it before but, essentially, it’s a film highlighting the damaging impact of bureaucracy on the revolutionary project with so many self-serving idiots only responding to the appearance of the Universal Worker (or similar). It’s one of the oddest and funniest propaganda films ever made and even more so with the “cleaners” quirky propulsion. Mop and Bowl on home-made instruments!




4. Scuola D'Eroi (1914) Daniele Furlati and Silvia Mandolini, Cinema Mastroianni


Meanwhile, back in the Golden Age of Italian Cinema, we watched an early film from one of the three great Dive, without which no CR is complete for some. This was not yet the imperious Pina Menichelli of her most successful period but she draws the eye in one of her first major roles dominates the screen whenever her character, Rina Larive is in shot even alongside Amleto Novelli and certainly the more established Gianna Terribili Gonzales.


Directed by Enrico Guazzoni – who made the 1912 Quo Vadis as well as other classical classics … Scuola d’eroi is an Napoleonic epic and I mean epic, straggling decades, family lost and found and with the fortunes of war and love all tangled together. Pina plays Rina, sister of Carlo, Amleto, who during a Napoleonic campaign, having been separated from their father as children and raised by a kindly farmer, get caught up years later in another with the emperor playing his part in recognising the courage of the family and saving them from the machinations of bad-faith nobility.


Daniele Furlati provided suitably spirited accompaniment on piano with Silvia Mandolini on violin, flavouring and enhancing during battles scenes and the moments of highest tension. Italian silent film of this era carried its heart on its sleeve and this was a very affecting screening of a fresh restoration from a nitrate positive held by the Cineteca Milano. It is the only tinted copy currently in existence and close to the original running time.

 

Pina Menichelli


3. 1904: Un Anno Magnifico, Stephen Horne and Frank Bockius, Piazetta Pier Paolo Pasolini


There are moments in every festival when you settle down and suddenly feel at the heart of the event, watching the perfect film and listening to just the right accompaniment and this happened on this rain-delayed outdoor event on the Thursday with a selection of shorts from 1904, A Magnificent Year indeed! I decided on the Pasolini’s carbon arc projector rather than watching the restoration of The Wind in the Piazza Maggiore – with orchestra! – and was rewarded with such rare delights!


We started with the breakneck gymnastics of Les Cambrioleurs modernes – often wrongly attributed as from a later year – which featured a stunningly synchronised troupe playing cops and robbers by throwing themselves in and out of a set full of trap doors. Clearly a stage act rehearsed tot the finest degree this was still a marvel to observe in real-time with no trickery. There was plenty of time for that with Georges Méliès' Détresse et Charité - The Christmas Angel and Match de prestidigitation but most of these films just used the new media to show actuality, whether it was the British Fleet being inspected at Spithead or A Miner’s Daily Life from RW Paul.


There was plenty of magic though with Gaston Velle’s silhouetted Burglars at Work showing what the camera can do as well as his deliciously hand coloured Métamorphoses du papillon with unknown dancer changing in front of our very eyes. And then, then we had a song as Frank Bockius performed the missing vocals from Henry Bender in a hand-coloured take of over-fed babies he would have performed at Berlin’s Metropol-Theatre. It was a job well done as indeed was the entire accompaniment from both payers with the memory of Stephen’s flute reverberating high into the clear skies as likely to linger as his partner’s percussion and vocalisation!




2. Re-building Jerusalem… Ingmarsarvet (1925), Andre Desponds and Frank Bockius / Till Österland (1926), Neil Brand, Cinema Mastroianni

 

This list isn’t really in order but the top two are such has been my pre-occupation with Selma Lagerlof and the tsars of these three films, notably the extraordinary ballerina Jenny Hasselqvist. I’ve gone on at length elsewhere but it was such a joy to see Gustaf Molander’s two films based on the author’s Jerusalem and I am so grateful to the Swedish Film Institute for the work they have done in restoring and reconstructing them.


More raving here...



1. Ekeby at last! Gösta Berling’s Saga (1924), Matti Bye, Eduardo Raon and Silvia Mandolini, Cinema Mastroianni

Having waited years to see this film on the big screen, I was also more than eager to see the results of the last five years’ worth of restoration and was in no way disappointed by the clarity and the majesty of this re-ordered and extended version of Mauritz Stiller’s work; perhaps not his best but my favourite anyway. Jenny, Greta Garbo, Lars and, especially Gerda Lundequist all shine as never before and the restoration and broader appreciation of filmmakers and the author Selma Lagerlöf will rightfully benefit.


More detailed appreciation here...


I saw much more though easily missing my 50-film target and apart from the silents enjoyed talkies as diverse as Morocco (1930), En Natt (1931) – Gerda again! - The Lavender Hill Mob (1951), Coeur de Lilas (1932) and Tirez sur le pianiste (1960). There was also a beautiful film of Anna Pavlova (USA-GB/1924-1954) which brought me close to tears with John Sweeney’s accompaniment.

 

As with life it’s best to celebrate what you saw rather than mourn what you missed and so, with hope in my heart, I look forward to revisiting many of the above and catching up, if the programmers so will it, with the rest.

Grazie mille Bologna and Il Cineteca Ritrovato! Ci vediamo nel 2025!


My copy of a 1924 Danish Gosta booklet