The Growing-Up of Emma Peel: Part Seven

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Before the next episode of this serial, swing by on December 24 to read a review of "The Avengers: Too Many Christmas Trees", one of the strange cases the future Emma will work as a secret agent for the British government..

'The False Magistrate' is silent end for Fantomas

The False Magistrate (1914)
Starring: René Navarre, Germaine Pelisse, Mesnery, Suzanne Le Bret, Laurent Morleas, Georges Melchior, and Edmond Breon

Director: Louis Feuillade

Rating: Seven of Ten Stars

A scheme concocted by Inspector Juve (Breon) to make sure the evil mastermind Fantomas (Navarre) is executed for his many crimes and murders goes awry, and Fantomas instead escapes the grasp of law enforcement yet again. Through a series of lucky breaks, Fantomas manages to take over the identity of an investigating magistrate and sets about committing more crimes, now under the cover of law. 

"The False Magistrate" was the last entry in the original silent movie "Fantomas" series. Sadly, it survives only in a degraded and fragmented state. Even the best available restoration features several severely damaged sequences and relies on several added intertitles that provide summaries of what happened in sections of the film that don't even exist anymore. Normally, I would not write a review of a film in this state, but there are a couple of reasons why I make an exception here.

First, I'd already declared I was going to review all five films in this series, without knowing the actual state of the final one. It was included in a set of DVDs that held all the films, and I was so impressed with the first entry in the Louis Feuillade that I couldn't imagine a reason why I wouldn't want to cover all of them.

Secondly, and far more importantly, "The False Magistrate" may actually end up as a better film for its missing pieces. Clearly, some of the elements would have been nice to have--such as the summarized scenes that establish Rose the Maid (Suzanne Le Bret) as being connected with Fantomas's gang, and just more of the gang members in general--but I am almost 100 percent certain that we're better off not having anything but highlights remaining from the plot-threads involving Juve and Fandor, because what we're left with is some of the dumbest stuff in the entire series.

While I complained about the absolutely mind-numbingly silly ending to "Fantomas vs. Fantomas" (1914), this opens with Juve embarking on something even dumber. And it isn't even silly--just dumb--and a prime example of bad writing every way you look at.

Basically, Juve lets Fantomas escape from prison by taking his place. The scheme is clever and even more cleverly executed (through the return of the fat suit used in "Juve vs. Fantomas" (1913)), but what isn't so clever is that no one notices that the party of visiting dignitaries that Juve snuck in with has one less member leaving than when they arrived; nor does any of the guards notice for weeks that someone else is in Fantomas' cell. It gets even worse, because by letting Fantomas back out into the world, Juve should be held accountable for the three murders he commits and the numerous lives he ruins during the course of this film. The less we see of Juve and Fandor in this film, the better off we probably are--although Fandor is the focus of one of the better scenes when he works with a pair of police detectives to trick and capture members of Fantomas' gang.

Setting aside the fact that the only reason there even is a story in this film beyond Fantomas's escape from prison is a series of tremendous coincidences, the fact that we get to see Fantomas engaging in a scheme that is both utterly evil and that also seems realistic. The way he uses his stolen identity as a powerful member of law enforcement to both extort the wealthy and bring renegade members of his gang firmly under his control is very fitting of is supposed criminal genius (unlike some of his activities in previous films). The gruesome way in which he punishes a disloyal gang member, and, for that matter, every murder he commits during the course of the film, also chillingly shows what a psychopath he is. 

Another strong part of "The False Magistrate" is the ending, both how Fantomas is captured and how he escapes (and, no, I don't consider it a spoiler to say that Fantomas escapes yet again... it's part of the genre). Unlike the previous three films, the ending here is nearly perfect.  

This post marks the end of "Fantomas Fridays" at Shades of Gray. But, since we have the DVD collection of Louis Feuillade's other legendary thriller series, "Les Vampires", in the To Be Watched pile, you can expect them to be replaced with "Feuillade Fridays" in the new year. We hope you'll be back!

Grampy cures the 'House Cleaning Blues'

House Cleaning Blues (1937)

Starring: Mae Questel (as the voice of Betty Boop) and Jack Mercer (as the voice of Grampy)

Directors: Dave Fleischer and Dave Tendlar

Rating: Six of Ten Stars

The day after hosting a wild birthday party, Betty Boop is hung-over, short-tempered, and she very quickly becomes frustrated with trying to clean up the mess. Grampy comes to her rescue by creating and make-shift cleaning machines.

In "House Cleaning Blues", Professor Grampy once again Does His Thing and saves Betty from house-cleaning... but in the process he pretty destroys a number of expensive household items, such as a record player, a player piano, and clock, and a bicycle. There isn't anything we haven't seen in other Betty & Grampy cartoons, but unlike those, the thought of how much property was being damaged to help Betty get out of house-cleaning kept popping into my head and so maybe I didn't enjoy this one as much as I should have.

While this may not be the most innovative of Betty & Grampy outings, there's still a lot to like about it. Betty has one of the cutest melt-downs ever put into animation--a bit the folks at Fleischer liked so much they recycled some of it in "Service with a Smile" (1937). Everything about Grampy driving his roadster is hilarious--especially the way one has to wonder what it is he has on tap when he serves Betty her drink as they drive off at the end of the episode. Finally, there is plenty of high-quality animation to enjoy--with a pan-shot across the wreckage of Betty's home before Grampy goes to work that has a 3D quality to it standing out in particular. And, despite my very joy-killing cringing at the property Grampy converts, the bits with his machines operating are as well done as they always are. 

If you have a few minutes, go ahead and check out "House Cleaning Blues" by clicking below.

Christmas is Coming!

June Marlowe wants to make sure you're ready!

Musical Monday with Starcrawler

We can all agree angels and Christmas go hand-in-hand. Since the video for "She Gets Around" features an angel, it must be Christmas appropriate, right?

Starcrawler is a rock band based out of L.A. It was founded in 2015 and is fronted by rail-thin singer Arrow de Wilde. Their songs have a hard-rock edge to them with creepy undertones, and the videos that come with the singles mostly play like mini-horror films.

Check out the video for "She Gets Around" (not to mention the song itself), below. (It's not very Christmas-y, just in case you happen to be super gullible.)

You can watch more Starcrawler videos at their website by clicking here.

It's a Spider-Woman Sunday

Some portraits of the greatest Spider-Woman of all, Jessica Drew!

The Growing-Up of Emma Peel: Part Six

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Be Very Quiet--Tom & Jerry are 'Rabid Hunters'

Rabid Hunters (1932)

Starring: Anonymous Voice Actors

Directors: John Foster and George Stallings

Rating: Six of Ten Stars

Tom and Jerry (together with their faithful hound and horse) go hunting.

"Rabid Hunters" is an slightly-above-average entry in the Tom and Jerry series. It starts a bit slow, the music is generally unremarkable (except for the variations on the predictable use of "A-Hunting We Will Go"), and a few of the gag sequences go on for too long, but at about the halfway mark, all weakness is left behind and the cartoon careens with ever-increasing zaniness toward its conclusion and a nonsensical but very funny plot-twist.

In what could be a drawback or a plus, depending on your tastes, "Rabid Hunters" is one of the episodes in this series that feels like it was squarely directed at kids. The gags, while amusing for the most part, are accurately described as juvenile with no double meanings or commentary beyond what is right there on the screen  It's another example of the inconsistent tone of the series, with some episodes being directed squarely at kids and others at a more adult audience. The straight-forwardness of the jokes here doesn't hurt anything, but they are a sign of the overall lack of thought given to who the Tom & Jerry cartoons were made for.

One interesting detail in "Rabid Hunters" is the rabbit who turns the tables on Tom & Jerry in the second half of the film. He may seem familiar to those who have seen early Bugs Bunny cartoons--or even later ones. An assumption might be made that the Van Beuren Team was "borrowing" from others yet again (as they did when Mickey and Minnie Mouse and Felix the Cat clones appeared in some of their efforts), but this may be an instance where they were borrowed from, since "Rabid Hunters" predates the first appearance of Bugs Bunny by roughly seven years.

Take a few minutes to check out Tom & Jerry on the prowl, right here from this very post! 

Christmas is Coming!

Jane Russell is helping us decorate our Christmas tree here at Shades of Gray this year. How are your Christmas decorations coming along?

Happy birthday, Georges Méliès!

On December 8 in 1861, Georges Méliès, the father of movie special effects and first person to make sci-fi and fantasy films, was born. Join me in celebration by enjoying this 1901 masterpiece of sci-fi/fantasy and dark humor.


The Man with the Rubber Head (1901)
Starring: Georges Méliès
Director: Georges Méliès
Rating: Nine of Ten Stars

A scientist creates a living, inflatable copy of his head. Why? Because he can!

"The Man with the Rubber Head" probably had audiences in 1901 gaping open-mouthed and then oooo-ing and aaah-ing and laughing. Even now, nearly 120 years later, this goofy little special effects spectacle  is very entertaining. (Interestingly, the only thing that doesn't work for me is the make-up job on the scientist's assistant. There doesn't seem to be a reason for him or her to be wearing such an obvious mask.)

I encourage you to take a couple minutes and enjoy the silent movie madness of Méliès, right here!