Pre-Thanksgiving Wonder Woman Wednesday

We here at Shades of Gray are thankful for Wonder Woman.

Meanwhile, Wonder Woman is grateful that comic book characters can't catch Covid-19, so she, her friends, and her comic-book universe fans can keep hanging out--and even have Thanksgiving Dinner together! We wish WE were comic book characters, too!

 

'Guilty Hands' turns mystery tropes upside down

Guilty Hands (1931)
Starring: Lionel Barrymore, Kay Francis, Madge Evans, Alan Mowbray, William Blakewell, and C. Aubrey Smith
Director: W.S. Van Dyke and Lionel Barrymore

Rating: Seven of Ten Stars

Richard Grant (Barrymore), a former district attorney now in private law practice, conceives and commits the perfect murder to protect his naïve daughter (Evans) from a long-time client who is a sociopathic monster (Mowbray). 

"Guilty Hands" is one of those films that turns the standard tropes of detective stories upside down. Not only do we know who committed the murder and why, but the authority figure directing the investigation is also the murderer and all he's doing is shoring up the idea that his staged suicide WAS suicide and that there is no other explanation that his victim killed himself.

The tension in the plot arises from the viewers wanting Grant to get away with his crime, because the man he murdered was a piece of garbage that needed to be taken out, but also from the knowledge that Grant is a killer and he shouldn't be allowed to get away with it. There's also the minor mystery as to how Grant managed to make it appear as if he was in his rooms even as he was committing murder... a question that the one character who suspects the truth--the victim's long-time lover Marjorie (Kay Francis)--sets out to answer, even as Grant is convincing everyone, including the police, that his version of events is the only possible explanation. The stakes are upped when Marjorie finds the evidence she is looking for, but will it be enough to overcome Grant's expertly staged "suicide" and the high regard he is held in? (There are a couple other twists that keep the tension growing as the film unfolds--and the ultimate conclusion remains in doubt until, literally, the film's final moment.)

From the mysterious, somewhat disorienting opening shot and dialogue through the dramatic climax "Guilty Hands" moves along at such a rapid clip that it's 69-minute runtime feels much shorter; there isn't a second wasted on things that don't either establish characters and/or drive the narrative forward. Although this is without question Lionel Barrymore and Kay Francis's movie--they have the best scenes and lines, and when they're playing off each other, they give us the film's most dramatic moments--but the rest of the cast is also perfect in their parts. 

Madge Evans, as the young lady who is about to make the biggest mistake of her life, is so charming and likable; and Alan Mowbray, as the truly awful man who uses and disposes of women as casually as he does paper napkins, is so smarmy and downright obnoxious both give such excellent performances that the audience accepts Grant's notion that some murders are not only morally justifiable but necessary. Evans and Mowbray may not be the stars, but they provide the fuel for Barrymore and Francis's explosive performances and thus are every bit as important to the film's overall greatness. (Francis also has a scene with Mowbray that is among one of the film's highlights, where Francis and Mowbray act out a scene that solidifies just how vile a character the soon-to-be murder victim is.)

With all the praise I'm heaping on the actors and the story of this film, why is it only getting a Seven of Ten? Because for all the excellence here, there are some really baffling displays of technical incompetence d craftsmanship so inept that amateurs might have been embarrassed to have the work be seen by the public.

First, there are several instances of sloppy editing that causes minor continuity errors (like characters repeating the same actions twice in row), and moments of actors standing still and waiting for someone to shout "Actions!" or starting to relax after "Cut!" has been exclaimed. Second, and far worse, is the laughably bad sound design. I realize sound was new, but the frequently recurring sounds of thunder in this film sound like something you might expect to hear in a community theatre, but which is completely laughable in a film featuring major stars that was made by a major studio. In fact, the thunder in this film is so bad that it couldn't have sound more phony if it was done on purpose. It would have completely undermined the second half of the movie if not for the excellent performances and tight script.

"Guilty Hands" is one of five films in the "Forbidden Hollywood Vol. 10" collection, and it is almost worth the price by itself.

Musical Monday with the Henry Girls

The Henry Girls is an Irish band made up of three sisters--Karen, Lorna, and Joleen McLaughlin. Their sound has been described as a mix between Irish folk music and American root music. The few songs I've heard of theirs have all been very pretty, with great vocal harmonies, fiddle playing, and jaunty ukulele and harp strummings. I fell in love with them, however, when I heard their very  original covers of Elvis Costello's "Watching the Dectives". Most people covering it tend to retain the reggae touches or even ratchet them up higher. The Henry Girls went in a completely different direction, giving their cover more a ragtime, jazzy feel. And it works beautifully. Check out the song and great video below.


Watching the Detectives (2011)
Starring: The Henry Girls, Steve Batts, and Dancers from the Echo Echo Dance Company
Director:
Rating: Seven of Ten Stars



Other excellent covers of "Watching the Detectives" are the ones done by Toto, Steve Phillips, and Duran Duran.

And, of course, there's Costello's original 1977 version... it remains one of my favorite songs. (Although... I am still trying to decide if the Henry Girls and Duran Duran haven't managed to do better versions than Costello's recording.)

It's 'A Close Call' with a parade of knock-offs

A Close Call (1929)

Starring: Unknown Voice Actors (but there's only one spoken line)

Directors: John Foster and Harry Bailey

Rating: Five of Ten Stars

A pair of mice in love are set upon by a cat who has his own romantic designs on the girl.

By the end of 1929, Walt Disney's Mickey Mouse had exploded in popularity across the United States and around the world, due to the exceptional way Disney fully integrated the new technology of sound into his animated films, as well as the superior story-telling and animation presented. It should surprise no one that other production companies wanted to get caught in that wave of success and come up with their own Mickey Mouse knock-offs.

Cue the Van Beuren Corporation's team of animators. They redesigned a pair of characters--Milton Mouse and Rita Mouse--that had been popping up every now and then since the early 1920s in their animated anthology series "Aesop's Fables" in a way that left no doubt as to where Van Beuren's creative staff got their "inspiration". 

The redesigned Milton and Rita first appeared in "A Close Call" and their looks evolved over four episodes of "Aesop's Fables" until they so resembled Mickey and Minnie that audience confusion was almost assured. (It's not as bad in "A Close Call", but as you can see EXACTLY what the Van Beuren crew was shooting for if you check out "The Office Boy" (1930) by clicking here.)

Milton and Rita were far cruder (both character-wise and animation-wise) than what Disney animators were doing with their mice was doing with--as well as more sexually charged and more physically and emotionally abusive toward each other. This didn't change once they were dressed up as Mickey and Minnie, and it perhaps even got worse; at the very least, each of the four films I've seen them in were successively more chaotic and fever-dreamish than the one before. Eventually, Roy Disney initiated a lawsuit over trademark and copyright infringement against the Van Beuren Company; Disney wasn't seeking any money--they just wanted to stop these uncouth clones from damaging the public perception of their characters.

But I keep digressing away from "A Close Call", which is a fairly amusing, if poorly structured, cartoon. There's a tone shift at about 2/3rds of the way through where it feels like it should end but it keeps going.

After opening with a bit of musical fluff and an uninspired dance number performed by Milton and Rita--which is, literally, spiced up with a gag involving Milton causing Rita's skirt to fall off--it shifts into a spoof of silent movie melodramas. This part features some of the film's best moments, with the villainous cat abducting Rita, having his romantic overtures toward her rebuffed, and subsequently treating viewers to a series of melodrama villain tropes. Meanwhile, Milton Mouse starts out filling the role of the standard melodrama tough-guy romantic hero--until the stereotypical tropes get hilariously distorted and ultimately reversed. The final disposition of our villainous cat (who himself appears like a knock-off of Felix the Cat--and who is probably more accurately viewed as a Krazy Kat copy since he's courting a mouse) is also somewhat shocking for a cartoon.

The second part of "A Close Call" features the wedding of the mouse couple, and it feels as if we're now watching a different cartoon featuring the same characters. It's equal parts strange and amusing, with the marriage ceremony culimating in a literal knot-tying... and "In the Army Now" is performed by the choir. It's all very amusing, but not very well connected to the first part, unless one imagines that Milton and Rita decided to get married because of the close call they experienced.

If you have a few minutes, check out "A Close Call" right here in this post.

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For a detailed history of the Van Beuren Company and more background on the development of Milton discussed above, you should get a copy of Hal Erickson's very detailed, yet entertaining, book "A Van Beuren Production".

Happy birthday. Goldie Hawn!

Actress Goldie Hawn is 75 years old today! Here are some photos of her in celebration!

The Growing-Up of Emma Peel: Part Three

Click on the panels for larger, more easily read versions.

The third Fantômas film suffers from too much of a good thing

Fantômas III: The Murderous Corpse (aka "The Deadly Corpse" and "The Dead Man Who Killed") (1913)
Starring: Georges Melchior, René Navarre, Fabienne Fabrèges, Edmund Breon, Luitz-Morat, Jane Farber, Marie Dorly, Naudier, and Renée Carl
Director: Louis Feuillade
Rating: Six of Ten Stars

Fandor (Melchoir) attempts to solve the mystery of how the fingerprints of a man who died in prison are showing up at crime scenes. Meanwhile, Fantômas (Navarre) is murdering, stealing, and undertaking a stock swindling scheme, all without fear of detection now that his nemesis Inspector Juve (Breon) is missing and presumed dead.

"The Deadly Corpse" is the longest Fantomas chapter so far, but it would have been better served if it had been shorter. While a few scenes are padded with characters meandering about and not much happening, the bigger problem is that the film is crammed too full of sinister Fantômas-ing.

In "The Deadly Corpse", Fantômas is basically engineering a stock manipulation scheme, but he goes about it with a ridiculously complicated web interconnected crimes--such as framing a guy for murder and then murdering him (as well as stealing his dead body), a jewel heist and some related extortion, and a second murder (for which he frames the missing dead man). All of these things are excellent ideas and very well presented in the film... but these good pieces add up to a less than satisfying whole. This would have been a much stronger film (not to mention shorter) if Fantômas had just done the heist and the second murder, or perhaps skipped the heist and just used the mystery of the how a dead man of the first kill could be committing murder to sensationalize the second the kill. Maybe my reaction is coming from being 100+ years of development of cinematic thriller tropes removed from this film, or maybe this film is a prime example of "too much of a good thing."

Another issue is the return of Lady Beltham (played by Renée Carl). The character's murky relationship to Fantômas in "Juve vs Fantomas" bothered me, but here I find it downright annoying. Even Fantômas seems surprised when she turns up on his doorstep to offer her assistance in his latest schemes, putting a lie to my notion that there was some twisted romantic relationship between the characters. Perhaps viewers in 1913 understood Lady Beltham's role in the over-arcing storyline of the series--these films were based on best-selling novels of the day, so the target audience already knew all the characters and how they were connected to each other--but I was left wondering why she was brought back instead of the far more interesting new female assistant that was introduced in the previous film (and who is nowhere in this one).

I was also bothered by the fact that this film is tinted, but I went on about my issues there extensively in my write up of"Juve vs Fantomas" so I won't repeat them here. 

Ultimately, "The Murderous Corpse" is a somewhat disappointing entry in the "Fantômas" series with a bunch of good components coming together to form a less-than-satisfying whole. Maybe things get better again in Part Four!

Barbara Kent is getting ready...

 ... for a Socially Distanced Thankgiving dinner at Shade of Gray's end-of-the-world survival bunker-equipped hideaway. How about you?

Betty and Grampy deliver 'Service With a Smile'

Service With a Smile (1937)

Starring: Mae Questel (Voice of Betty Boop) and Jack Mercer (Voice of Grampy)

Directors: Dave Fleischer and Dave Tendlar

Rating: Seven of Ten Stars

It's the grand opening of the Hi-Di-Ho-Tel. Front desk clerk Betty is getting overwhelmed with demands from angry guests... until Grampy saves the day with his brilliant mind and talent for make-shift mechanical engineering.

In "Service With a Smile", Betty Boop is once again relegated to second billing in her own series, and genial mechanical genius Grampy and his creations take center stage, drive most of the story, and ultimately save the day. He elevates the service provided to guests with legitimate complaints to wondrous levels while delivering well-deserved comeuppance to those who are just obnoxious.

Among the high points in this Betty Boop outing are some nice (and sometimes subtle) callbacks to some of the older entries in the series, with the name of the hotel being foremost among these. There's none of the surrealism or edgy humor that was present in those efforts from the early 1930s, but the steady stream of good-natured gags (which start with the signs outside the hotel in the opening scene and don't stop until the closing fade-out) and the assortment of odd and/or troublesome guests at the hotel manage to make this a bit of fast-paced, fun entertainment.

Since we here at Shades of Gray also like to provide service with a smile, we invite you to check out "Service With a Smile" right now, by clicking below. It's only about seven minutes long, and we promise it will brighten your day!

The Swank Quarterly

In 1999, shortly before her star shot to full ascendancy with her Oscar-winning role in "Boys Don't Cry", Hilary Swank sat for portraits with photographer Rick McGinnis. (And that is literal... she sat on the floor in a hotel hallway where a film festival was taking place.)

For more pictures from this series, as well as extensive comments from McGinnis about the circumstances under which it came to pass, click here.

'The Black Imp' brings special effects fun

The Black Imp (1905)

Starring: Georges Melies

Director: Georges Melies

Rating: Eight of Ten Stars

A traveler rents a room already inhabited by a playful demon. It turns out that there truly is no rest for the wicked, as the imp does not appreciate having a roommate.

"The Black Imp" shares many similar elements as "The Apparition", which was made and released in 1903. First, both have hotel guests who is tormented by a supernatural being. Second, said victims are deserving of the torment, because they both sexually harasses the hotel maid. Third, both guests at first seem unfazed by objects and people teleporting about, transforming and appearing or disappearing in the room. (As I said in my review of "The Apparition", France of early 20th century must have been a very different place than it is today.)

All in all, "The Black Imp" feels like a remake of "The Apparition", with Melies applying lessons learned since 1903 and getting more elaborate with the stop-motion effects and other trick photography methods. Comparing the two films is interesting, as well as fun, as they are near-plotless vehicles for showing off Melies' exploration of cinematic magic--and the joy of creation and discovery of special effects techniques is palpable. 

Once "The Black Imp" gets going, it's a non-stop sequence of rapid-fire effect shots, including a very impressive bit where the hotel guest suddenly finds himself in midair and then plummets to the floor. The effects are so seamless that I wonder how Melies pulled it off... and it made me wonder why he didn't use a similar technique in later films to, for example cause the Moon Maiden in "The Dream of an Opium Fiend" (1908), Having the Moon Maiden float from her perch to the floor instead of using a step ladder would have been much more impressive.

I've embedded "The Black Imp" below. If you have five minutes, you should check it out. The acting is a bit hammy (to put it mildly) but even though it's 115 years old, it's lots of fun and the special effects are impressive.

Baby Yoda vs. the Cunts of Guns N Roses

Like the Galactic Empire and the various warlords left in its wake, the Cunts of Guns N Roses Music are on the hunt for Baby Yoda!



On or about November 5, the comedy group Merkins posted a collaboration with a Guns N Roses coverband that was part spoof of the hit song "Sweet Child of Mine" and part tribute to the very popular Star Wars series on Disney+, "The Mandalorian".

Completely lacking a sense of humor and/or appreciation for the rules surrounding parodies, Guns N Roses Music filed a copyright claim against the video and YouTube took it down. With the ruthless efficiency of a Moff and his Stormtroopers, Guns N Roses Music tried to destroy Baby Yoda. This was on or about November 9. They failed to destroy the Child, but they are still hunting for him.


Their most recent assassination attempt took place on about November 15. Here's a screen shot of the aftermath:

But, once again, Baby Yoda survived and "Green Child of Mine" is still available for everyone to enjoy and be amused by. In fact, it's embedded right below!

On or about November 23, the Cunts of Guns N Roses made another attempt to murder Baby Yoda. But, as shown here, he survived again and Guns N Helmets are here to celebrate!

On or about November 22, 2020, the Cunts of Guns N Roses tried to kill Baby Yoda again. So we linked to another upload of the "Green Child of Mine" video.

Like the Mighty Mando, we're devoted to the safety the Child. We will celebrate every time he survives an attack by embedding yet another upload of "Green Child of Mine" into this post. We'll keep doing this over and over and over... until the Cunts of Guns and Roses defeat Baby Yoda, or we get bored. (Click here if you want to see the original Musical Monday post.)


May the Force be with you. Always.

Musical Monday with Edwyn Collins

Edwyn Collins is a Scottish singer and guitarist who's been performing with bands or as a solo act since the early 1980s. "A Girl Like You" was a worldwide hit in 1994, and if you missed it back then, check it out now, because it's a song that's held up beautifully.

Further, the video is one that must be seen, especially by fans of 1960s dance styles and James Bond movies prior to the dawn of the 2000s. (I can't say much more without ruining the surprises, but I think regular visitors to this blog will find this Monday's selection a good way to start the week!)

Tom and Jerry are in a 'Jungle Jam'

Jungle Jam (1932)

Starring: Unknown Voice Actors (although spoken lines are minimal)

Directors: John Foster and George Rufle

Rating: Six of Ten Stars

Tom and Jerry are jungle explorers who run afoul a village of hostile cannibals.

"Jungle Jam" joins Tom & Jerry installments like "The Tuba Tooter" and "Pots and Pans" as a nearly plot-free mini-musical where the song and dance numbers are loosely connected by scenes of featuring gags and a varying degree of surreal nonsense. Some of the gags featured here will be refined and repeated in "Redskin Blues", as well the theme of our heroes being captured by a hostile tribe. In addition to the improved "second take" on gags, "Redskin Blues" has a little more story than what we get here.

Although "Jungle Jam" ends up being an average entry in the Tom & Jerry episode, it opens strong, with one of the cutest sequences in the entire series involving our heroes in a canoe, crocodiles, and dancing monkeys. The cartoon remains amusing throughout, but it never quite reaches the level of the opening musical number. (In fact, it comes dangerously close to nose-diving into pure awfulness when Jerry sometime capricious and stupid and our heroes could easily escape the danger of cannibals by simply running away. If you've watched any Tom & Jerry cartoons, you probably know that "capricious and stupid" are pretty much standard, but what happens here is beyond the Pale.) 

One thing I should mention in this day and age of people being overly sensitive and/or looking for reasons to be offended is that there's a fair amount of ethnic and racial humor in the second half of "Jungle Jam". Again, this is something that anyone who's seen more than a couple installments in this series will expect, the content here may easily draw cries of racism and racist portrayals (if the mention of cannibals at the top, or the screen-shot illustrating this article, didn't make it clear). I don't think that's completely accurate though, although I understand the impulse; the character designs of the tribesmen aren't that different from that of Jerry, and even Tom in some of the cartoons. Is there racial and ethnic mockery and stereotyping here--yes. Is it racist--I don't think so.

But--why don't you check out "Jungle Jam for yourself? There are worse ways to spend a few minutes--and certainly ones that are far less amusing!

For a detailed history of the Van Beuren Company and more background on the development of Milton discussed above, you should get a copy of Hal Erickson's very detailed, yet entertaining, book "A Van Beuren Production".

The Growing-Up of Emma Peel: Part Two

And now we continue the story of future secret agent Emma Peel's first great adventure. (Click on the panels for larger, more easily read versions.)

Don't forget to be scared, because...

There's Something About a Soldier (and Betty)

In observance of Veteran's Day, we invite you to taka e few minutes to watch "There's Something About a Soldier"--a tale of war, bravery, and love... not to mention lots of silliness. It's embedded at the bottom of this post!

There's Something About a Soldier (1934)

Starring: Mae Questel (the voice of Betty Boop) and Jack Mercer (the voice of Fearless Fred)

Director: Dave Fleischer

Rating: Seven of Ten Stars

Betty helps recruit the men on the country to join the army to battle an invading hoard of giant mosquitos and fights along side them on the front lines.

By 1934, the Betty Boop cartoons were losing their edge, due in large part to the now-in-full-force Motion Picture Production Code. Still, this Betty Boop outing is still a lot of fun, with gags coming fast and furious while everything from war-time melodramas, army recruiting methods and army recruits, and even war, is being lampooned. 

What's most remarkable here is the animation. At first glance, it appears like the well-composed and smooth-flowing imagery we expect from this series, but a closer look reveals that an amazing amount of attention and effort was put into the details here. For example, each soldier in formations is drawn with an individual look instead of the typical method of just repeating the same character design on such insignificant characters. That extra effort on the soldiers is a big part of what makes "There's Something About a Soldier" worthy viewing on this Veteran's Day.

Then there was that time when...

... Rhona Mitra was in such a hurry to get to work she left a few important things at home.

It's something to which we can all relate...

Extra Musical Monday with the Merkins... Because This is the Way Now!

It's early November 2020, and we haven't yet had time to watch the new episodes of "The Mandalorian"--there's just too much stuff to watch, including all the old things we want to cover for this blog!--but we are looking forward to the day when we can find the time.

(For the non-Star Wars fans out there, "The Mandalorian" is a series airing on Disney+ that details the adventures of the Mandalorian of the title and the baby alien he decides to protect. It's sort of like "Lone Wolf and Cub Meet Star Wars While Everyone is Brainstorming Spaghetti Western and Heist Movie Plots"... and the first batch of episodes were fantastic!)

And after coming across this hilarious musical tribute to the Mandalorian and the Child (whom we forever will refer to as Baby Yoda) via a Guns 'n Roses parody cover, we are looking forward to sitting down and watching that show even more!

The Merkins is a comedy group that specializes in spoof covers, more often than not revolving around the various masked characters from horror films. You can check out their YouTube channel here, and you can click here to see a selection of their songs that have been featured at our sister blog, Terror Titans.


UPDATE (11.9.2020)
It appears that Guns N Roses has nuked the "Green Child of Mine" parody with a copyright claim. What a bunch of useless, feckless bastards.


UPDATE (11.11.2020)
"Green Child of Mine" was reuploaded on someone's individual page. We'll see how long it sticks around! Watch it while you can!


UPDATE (11.16.2020)
The cunts of Guns N Roses have nuked "Green Child of Mine" again. Oh well. This post will stay here, in memory of a very funny parody. I'm sorry if you missed it. BUT! We're going to start a salty post where we will chronicle the ups-and-downs of Baby Yoda vs. the Cunts of Guns N Roses! Stay tuned!

Musical Monday with David Byrne

On November 9, 1989, the Berlin Wall was torn down by people who truly were stunning and brave.

For nearly three decades, it had been one of the primary symbols of the evil and oppressive nature of the Soviet Union, a wall built to keep the citizens of East Berlin from fleeing into West Berlin, which at the time was a tiny island of liberty. In 2001, then U.S. President George W. Bush declared November 9 World Freedom Day.

This 1990 recording of "Don't Fence Me In" by David Byrne is the perfect song for this Musical Monday, which also happens to be the 20th World Freedom Day.

'The Office Boy' doesn't work

The Office Boy (1930)
Starring: Anonymous Voice Actors
Directors: Harry Bailey and John Foster
Rating: Three of Ten Stars

An office romance between an office boy and a secretary is threatened by their lecherous boss.

"The Office Boy" is a terrible cartoon. Everything about it is amateurish--from the animation through the sound design and the musical soundtrack and featured song--and indifferently produced, with the least amount of effort going into all aspects of creation.

I suspect some of you, after reading the above paragraph, are wondering how anything Walt Disney did with Mickey Mouse could ever be described as "amateurish" and "indifferently produced"? Well, that's because, despite what it might appear from the still above, "Office Boy" is NOT a Disney cartoon. Instead, it's one of a handful of knock-offs cranked out by the Van Beuren Corporation to capitalize on the popularity of Mickey Mouse and his female friend Minnie Mouse. They were so bad that Roy Disney reportedly filed suit against Van Beuren. According to Hal Erickson, who literally wrote the book on the Van Beuren Company, Disney wasn't seeking any monetary compensation for the obvious infringement--he just wanted then to stop making crappy cartoons featuring knock-offs of their popular characters.

"The Office Boy" is more terrible than even the worse "Tom & Jerry" installment, as, no matter how awful some of them are, there's always a certain atmosphere of childish glee, along with a generous helping of surreal absurdities. We have almost none of either here, except for the cute out-of-nowhere finale... which is tainted by what I assume is the first run of a nightmarish "gag" where two characters merge into one in a terrifying manner. (It reappears a couple years later in "Rocketeers", which was also co-directed by John Foster.)

As is my habit, when it comes to the short films I review, I encourage you to check out the subject instead of just taking my word for its quality. If nothing else, you will find yourself marveling at just how shameless the Van Beuren folks were in their rip-off of Mickey Mouse in "The Office Boy". (And if you find yourself disagreeing with my take, let everyone know your views in the comments section, or over on my Facebook page.)

Beginning a new Saturday Serial...

Mrs. Emma Peel. Those who know her recognize her as the total package-- a woman of great intelligence, grace, and beauty. Those who really know her also knows that for several years during the 1960s, she put all her talents to use as a member of Great Britain's most elite force of secret agents, The Avengers!

Before she was Mrs. Peel, before she was Chairwoman of Knight Industries, before she was one of Britain's secret agents charged with the task of avenging other secret agents who fall in the line of duty, she was Emma Knight, daughter of a widower and traveling the world with her father. Beginning today, and over the next many weeks, you'll be able to read the tale of her first major adventure... where lives were at stake and the fate of nations hung in the balance... in The Growing-Up of Emma Peel! (Click on the pages for larger, more legible versions, and come back next week for the continuation!)

PART ONE

A genre-founding game of cat and mouse...

Juve vs Fantomas (1913)
Starring: Edmund Breon, Georges Melchior, René Navarre, Yvette Andréyor, and Renée Carl
Director: Louis Feuillade
Rating: Seven of Ten Stars

Fantômas (Navarre)--a psychopathic murderer, master of disguise and leader of a vast criminal enterprise--attempts to eliminate his dogged pursuers Police Inspector Juve (Breon) and journalist Fandor (Melchoir) while enacting a scheme to rob wine dealers of 150,000 Francs.

I have seen the Louis Feuillade-directed Fantômas material described alternatively as a serial and as series of sequels. Having watched now (finally) the second installment of the series, it's clearly a serial. While the first film delivered a complete story and stood relatively well on its own (read the review here), this one relies not only on prior knowledge of the characters featured, but on some degree of what happened in the previous film, but also ends with a number of unresolved plot elements.

Although "Juve vs. Fantômas" is part of a serial with no solid beginning and no end, it is made up of shorter, almost self-contained stories centered on either Fantômas and his gang schemes and heist attempts, or the back and forth between Juve & Fandor trying to catch Fantômas while Fantômas is trying to kill them.

From a genre history perspective, this is an interesting film to watch, because its chase scenes, shoot-outs, and general pacing and alignment of characters show how little the action and thriller genres have changed in the 110+ years since this "Juve vs. Fantômas" was released. The technology and techniques of filmmaking may have changed, but the pursuit scenes, confrontations between heroes and villains, shoot-outs--every story element really--could be transferred to a modern film with very little revision. (Okay, so Fantômas' method of escaping from Juve and Fandor when they nab him about halfway into the film would have to be completely reworked, but almost everything else would fit in a modern thriller. Oh... and me staying that Fantômas escapes from his pursuers is not a breach of my general policy of not providing spoilers; Fantômas will ALWAYS escape, because, although he's the villain, these films are more about what he and his crew are getting up to than the heroes that are trying to catch him.)

Highpoints of the film are the startling aftermath of Fantômas' gang robbing a wine broker they'd cat-fished; a shoot-out that's s equal parts thrilling and hilarious, with it being a very tense sequence that feels like heroes Juve and Fandor are in geuine peril, but funny due the way the gunmen trying to kill them pop up and down from cover; the scenes that underscore exactly how confident Fantômas is in his abilities to avoid capture, such as when he returns to finish his date at a nightclub with two lovely ladies after almost getting pinched at that very nightclub; and the entirety of cat-and-mouse game between Juve and  Fantômas that culminates in the film's final minutes that shocking cliffhanger.

On the downside, Fantômas' murky relationship with Lady Beltham (Renée Carl) continues from the first film, without any additional clarification of it. We're introduced to a new female assistant to Fantômas (Yvette Andréyor) at the beginning of the film--one who is a straight-up criminal like he, and who shares at least some of his talents for disguise, deceit, and being a social chameleon, and is all-around more interesting and even prettier than Lady Beltham--so I figured Fantômas had gotten all the use he could out of Beltham and moved on... but this is not the case. She is brought back into the story and cooperates with him for reasons even less comprehensible than her working with him before, and we get no further insight into why she cooperates with him or why he even reaches out to her. (Although I was a bit annoyed to see whatever it is that binds Fantômas and Beltham together, I hope she'll appear again in future installments, perhaps even get killed off and replaced by Josephine.)

On the presentation side, a near-constant annoyance for me was the fact that this film was tinted. Outdoor daylight scenes were tinted yellow or green (I can't tell which for sure due to being somewhat colorblind), outdoor night scenes being blue, and scenes involving fires, explosions, and fiery crashes (of which there are several) being tinted red. Scenes that take place indoors were tinted inconsistently, sometimes just in the native black and whit, but other-times in yellow/green or blue, depending on whether the light is on or not. I understand that this wasn't an uncommon practice back when this film was made, but it annoys me whenever I come across it. Maybe it's my color blindness or maybe it's just my love of the black-and-white medium (which is tied to my color blindness, according to at least two different wags I know), but I view it as a strike against a film, no matter how much I otherwise enjoy it. It's especially annoying to me when the tinting is applied inconsistently like it's done here.

In the end though, the good parts of "Juve vs. Fantômas" vastly outweigh the bad parts--and the finale makes up for any and all sins committed during its run-time. I will have to implement Fantômas Fridays for the rest of November so I can see how things turn out! 

If you have an interest in the history of film and where genre conventions come from, or if you just want to enjoy a fast-paced, old-timey crime drama, I think you'll find watching "Juve vs. Fantômas".