The Avengers: 'The Town of No Return'

The Town of No Return (1965)
Starring: Patrick Macnee, Diana Rigg, Terrence Alexander, Patrick Newell, Juliet Harmer, Alan McNaughten, and Jeremy Burnham
Director: Roy Ward Baker

Rating: Eight of Ten Stars

When several of their collegues vanish while investigating odd happenings in a small sea-side village, top government agents John Steed (Macnee) and Emma Peel (Rigg) are sent there undercover to determine their fates. 

"The Town of No Return" was the inaugural episode of the fourth season of "The Avengers", and it marked a change in direction and tone for the series. The character of John Steed had been evolving since the second season, from a trenchcoat-wearing tough guy to an eccentric, bowler hat wearing, fey throwback to an earlier age--and that transformation was complete now. With Steed's final metamorphosis also came a lighter tone for the series overall. 

The biggest change to the series, however, is the debut of Diana Rigg as Mrs. Emma Peel, the first steady partner Steed had had since he was made the lead character of the series during the second season. Mrs. Peel was introduced without much fanfare, with a sense that her and Steed had bene acquainted for some time and had possibly even worked together in the past. They seem well aware of each other's strengths and limitations. It's a nice in media res approach that gets things going quickly and gives the sense to viewers that we are about to embark on a dangerous mission with a pair of seasoned, capable secret agents. (And although Mrs. Peel is new to the viewers, we are swiftly introduced to her background and varied skillset through her banter with Steed and the friendly fencing match they engage in, right there in her living room. Not only do we see how physically capable Peel is, but their conversation reveals that she regularly publishes papers in scientific journals.)

We are further introduced to Mrs. Peel's talents for investigation and undercover work once she and Steed arrive in the titular Town of No Return, a strangely sparsely inhabited sea-side village where the inhabitants are decidedly unfriendly and the inn keeper (Terrence Alexander) is entirely too friendly, as she poses as a teacher sent by the Department of Education to help the local school. We also get to see Steed being absolutely coldhearted and brutal--and while he rarely kills on screen, some of his interactions with villains in this episode leaves no doubt that he could do so. All-in-all, this a great introduction to a pair of characters who compliment each other, portrayed by an actor and actress who work well together and have great onscreen chemistry. Macnee and Rigg make Steed and Peel seem absolutely believable as friends and colleagues who are dedicated to each other and their jobs as government investigators and, well, avengers. 

This first episode is also a prime example of what makes this series so much fun. Like all the best episodes, the action and the plot is almost secondary to the witty banter and friendly flirtations between Steed and Peel, and the comedic elements of the show exist easily alongside a growing atmosphere of dark mystery and deadly danger--with each augmenting and heightening the effectiveness of the other. Since this episode is directed by Roy Ward Baker, who was an expert at generating suspense and terror on the screen, it is not surprising that the air is thick with tension and mystery as soon as Steed and Peel arrive in the village. 

Like many episodes in Season Four of "The Avengers"--including some of the best ones--the plot of "The Town of No Return" comes apart if you examine it closely, but the ride you're on is so much fun that you shouldn't feel a need to think about the pure nonsense of pieces that don't quite fit. (At the risk of spoiling the episode for you, I will say that the one part that bothered me is that the fate of the villagers who are replaced by the invaders is not fully explained to my satisfaction. Are they all dead? Are they imprisoned somewhere? It seems reasonable that they're dead, but I would have liked to know one way or the other, even if it might have made the show much darker.)

"The Town of No Return" opens a chapter of greatness for "The Avengers"... and it opens it on a powerful high note. It is a classic bit of 1960s gonzo spy action, and it's well worth checking out.

2021: The Year of the Avengers

Not too long ago, I realized that there were 51 episodes of "The Avengers" that co-starred Diana Rigg and Patrick Macnee. So, the decision was made on the spot that 2021 was going to be the Year of the Avengers at Shades of Gray, like 2000 had been The Year of the Hot Toddy.

The flaw in that plan, though, is that 26 of the episodes starring Diana Rigg are in black and white, but the rest are in color, with the episodes for the 1965 season being the last that were shot in black-and-white before the show converted to color in 1966.

Still, starting tomorrow, and then on every other Thursday for the rest of the year, I intend to post my thoughts on an episode of the series that originally aired on television in 1965. On the "off-weeks", there will be a photo-gallery related to "The Avengers" and its cast members.

If things go well, I'll revive my old Watching the Detectives blog and cover the 1966 color episodes over there.

I hope you will come by for my comments on these television classics, as I watch them for the first time. Despite all I've heard about the Patrick Macnee/Diana Rigg-led episodes of "The Avengers", it's just now that I'm getting around to them. (Previously I've only seen a few of the episodes where Honor Blackman played John Steed's partner, Cathy Gale. The promotional photos I'd seen for the 1965/66 seasons, as well as what I've heard, made it clear there was a drastic shift in tone when they gave Steed a permanent partner.)



By way of a warm-up, here's a pre-credit sequence that was added to the series when it was broadcast in the United States. In 1964, the American Broadcasting Company (ABC) brought the rights to "The Avengers", and the series aired more or less simultaneously in both the U.S. and its country of origin, Great Britain. It was felt the characters and what they did needed a proper introduction to the Americans, so this very neat little opener was created. 

(I say "neat", even while wondering if the writer wo scripted the voice-over and the executive who approved it had even watched so much as the first episode with Diana Rigg as Emma Peel. It is clear from the outset that, like John Steed, Mrs. Peel is a top, professional secret agent and not a "talented amateur" as she is described... unless they're referring to the fact that she dabbles in several advanced science disciplines? Although, as I typed that sentence, I remembered references here and there during the series that also seemed to hint at Mrs. Peel not being a full-time agent. Personally, I find that notion fantastic, given what Steed involves her in, time and again. I realize that "The Avengers" is basically a live-action comic book, but even with Emma Peel's background as the sole heir to her father's company and fortune--especially because of that background--it taxes my imagination that she is some sort of volunteer or part-time consultant.)



(This opening is NOT included in the DVD collection that is forming the basis of the reviews series. I consider this an oversight. It should have been included as an "extra" or "bonus feature.")

'As the Earth Turns' was decades in the making

As the Earth Turns (filmed ca. 1937, released 2019)
Starring: Alan Hoelting, Barbara Berger, Edwin C. Frost, and Richard Lyford

Director: Richard Lyford

Rating: Six of Ten Stars

The time is the near future. As war rages across Europe, a mysterious entity, Pax (Lyford), reaches out to world via a west coast U.S. Navy station, threatening natural disasters on a global scale if the war doesn't come to an end. The mysterious entity charges the U.S. government with seeing to it that its demands are carried out... and when peace does not come fast enough, Pax proves that it has the power to destroy mountains, move oceans, and ravage the world with earthquakes. A pair of reporters (Berger and Hoelting) and a physicist (Frost) set out to find Pax and stop his reign of terror.

"As the Earth Turns" was made in made in 1937 or 1938, but never released to the public until relatives of its writer/director/co-star connected with composer Ed Hartman. Hartman provided a wall-to-wall musical score for the film and became the driving force in getting it out into the world. 

Based on information provided by Hartman and extrapolating from Richard Lyford's IMDB entry, at least one reason why this film was abandoned was that was in final edits and assembly when Lyford went to work for the Walt Disney Corporation, leaving behind his troupe of fellow amateur actors and filmmakers in Seattle, WA, for a career in Hollywood. 

On the one hand, it's great that a talented filmmaker had the opportunity to make a living plying his craft--and even co-directing an Oscar-winning documentary--but, on the other hand, it's too bad it took ninty years for this fun sci-fi movie to see the light of day. (That said... if Lyford HAD finished and released his move, there might not have been the well-preserved raw material for Hartman and the restoration team to work with in producing what we now can watch today.)

As far as my purely superficial research has shown, the only person aside from Lyford who went onto a successful show-business career  was Barbara Berger--on Broadway and soap operas--and I think it was well deserved. Aside from Lyford himself, Berger gives the best performance in the cast and is responsible for two of my favorite moments of "As the Earth Turns" (and mentioning either would spoil parts of the movie, sadly).

 

As for the film itself, story- and pacing-wise is it's on par with the sci-fi films of the time, and the characters are also what you would expect. (Spunky, success-driven girl reporter. Heroic [more or less] male reporter. Wise scientist who happens to be a semi-mentor to one of the characters. Stark-raving mad scientist.) There are a couple of twists to how these standard figures are deployed within the story--one of which is borne from such pure plot convenience that it almost hurt, one which adds a little surprise to the ending. There are plenty of shaky parts in the plot, and the ending comes rather suddenly--but with a bit more of a denouement than many film of the period--but there is nothing worse that you don't see in professionally mounted low-budget films of the day. In fact, what we have here is superior to what you'd find in many of those films.

Even more remarkable  are the special effects in this film. They are remarkably competent for an amateur film--from the construction of the models, through the filming of their eventual destruction through explosions and other mayhem. There's a plan crash that's especially impressive--and it compares well to what you might see in films from big studios in the 1950s or even the 1960s.

One curious choice was Lyford's decision to make it a silent movie. Maybe he did so because of technical and resource limitations, because I can't think of many silent movies being produced in 1937. Even cartoons had become more or less dialogue-driven by this point in time, so making a silent film seems a bit odd. (Although since people are still making silent movies today, perhaps I am making a bad assumption. Perhaps Lyford choosing to make a silent film is like someone today choosing to make a sci-fi film using practical effects and models instead of lots of CGI--he had a creative reason for rejecting the most recent technology of filmmaking. 

Another curious choice was for Lyford to present the film's final scene in color. Maybe I missed something along the way, but I didn't get the sense that there was anything in the resolution of the story to support such a change--especially given the "throwback" nature of the picture. Maybe the final bit was shot in color because Lyford gained access to a color camera and film and wanted to try it out? (This color portion is among the worst preserved bits of the film... the colors are so faded that this colorblind viewer didn't even see them. A friend who had also watched "As the Earth Turns" asked me what I thought about the film turning color at the end, and my response was, "It turned color?" I thought it was suddenly tinted blue ala some scenes in the silent Fantomas films or "This is the Night" (1932).

Despite some technical gripes and questions I have with the film, I recommend it to anyone who likes early sci-fi pictures and silent movies; you'll find plenty to enjoy here--including the excellent score by Ed Hartman. (More modern composers who try to score silent films should be like Hartman and actually pay attention to what's happening on the screen and match the music accordingly.)

As of this writing, "As the Earth Turns" available for viewing on Amazon Prime.

(Trivia: "As the Earth Turns" star Barbara Berger is remembered primarily for recurring roles on soap operas during the 1960s through the late 1990s. Under the name Barbara Berjer, she made her television debut with appearances in the landmark "The Edge of Night" through "As the World Turns" (funny coincidence there) and ultimately a 12-year stint on "Another World" (1985-1997).

Tanya Roberts passes away at 65

Tanya Roberts, a model who turned to acting in the late 1970s, is perhaps best remembered for her role as Donna's mother on "That '70s Show" and for playing opposite Roger Moore's James Bond in "A View to a Kill" (1985). However, her beauty and talent were also on prominent display as one of Charlie's Angel's during that series final season in 1981; as Kiri in Don Coscarelli's fantasy film "The Beastmaster" (1984); as the title character and star in "Sheena: Queen of the Jungle" (1984), an underappreciated jungle action/adventure film; and as a hapless traveler in the equally underappreciated "Tourist Trap" (1979) from B-movie master Charles Band. Her first starring film role was in the proto-slasher film "Forced Entry" (1976). 

Born in 1955, Tanya Roberts appeared in more than 40 different television series and movies between 1974 and 2005 when she retired from acting. She collapsed while walking near her home on Christmas Eve of 2020.

On January 3, 2020, the common-law husband and other representatives of Roberts announced that she had passed away. Then, about midday on Jan 4, the husband and reps said, "Whoops... never mind. She's not quite dead. Our bad."

How it's possible to declare someone dead before the body isn't even a body yet (while claiming you were there in the "final moments", we can't say. But that's what happened. Maybe we're looking at a Monte Python routine made reality?

Roberts did eventually pass away later on January 4, but it was more than 24 hours after those who were eager to announce her passing initially did so.

Musical Monday with the Moody Blues

It's the Moody Blues, standing outside a castle, and they're performing "Nights in White Satin". What else you could you possibly need to know? And could there be a better way to celebrate the first Musical Monday of a brand-new year? Click on the video and enjoy!

'The Impractical Joker' isn't very funny

The Impractical Joker (1937)
Starring: Mae Questel, Jack Mercer, and Pinto Colvig
Director: Dave Fleischer
Rating: Five of Ten Stars

Betty's peaceful day turns chaotic when prank-loving Irving stops for a visit. Grampy puts his mechanical genius to work in order to turn the tables and prank the prankster. But can even the might Grampy best the King of Pranks?

"The Impractical Joker" is a low point in the series of cartoons co-starring Betty Boop and gadget-maker Professor Grampy. The gags are barely funny, the prankster character of Irving is completely unlikeable and one wonders why Betty even lets him into her home (or why she doesn't beat him to death with a rolling pin once she does), and Grampy's inventions aren't as inspired or funny as they've been in previous outings. 

The only remarkable thing about "The Impractical Joker" was the animation and design of Irving who is among one of the weirdest creatures to exist in the World of Boop. He's so bendable that even Gumby must be jealous. 

Maybe this one just isn't in step with my sense of humor, or maybe it shoots for a juvenile audience that's even lower than my admittedly juvenile tastes. You can check it out below, and if you feel inclined, you share your take by leaving a comment.

The Growing-up of Emma Peel: Part Nine

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Welcome to 2021!

A new year has arrived. We here at Shades of Gray hope that all our readers and visitors are happy and healthy, and we hope to continue to bring you lots of old stuff that may be new to you.

And while we are expecting there to be a full year ahead of us, Janet Leigh is not so optimistic. She's excited a new year is here... but she's going to take it one day (two at most) at a time...

It's almost Midnight on December 31...

... and we're getting reading to usher in the New Year here at Shades of Gray!

We are looking forward to a bright tomorrow!

The Milla Jovovich Quarterly: Quiet Please!

Milla is seen here with her oldest child Ever. They are asking that everyone keep the New Year's celebrations on the quiet side. Ever's youngest sister was born earlier this year, and the baby needs her sleep... so the rest of the family can get theirs!

Musical Monday with Azul Sierra

On the final Musical Mondal of 2020, we bring you a sweet, romantic urban fantasy cartoon that's been rescored by composer Azul Sierra. I don't know what the original music was like, but as far as I'm concerned what Sierra did here is perfect! 

Further, what we have here is basically a silent movie, and that makes Sierra's music all the more remarkable. All scores written for silent films by modern composers should be treated with the grace and attention to what's happening on the screen that Sierra exhibits here.

Take a look and listen. I'm sure you'll find it to be a good start to this last week of the year.

Paperman (2012, New Score/Silent Version 2020)

Director: John Kahrs

Rating: Ten of Ten Stars

Check out Azul Sierra's YouTube Channel for more samples of her work by clicking here.

The Growing-up of Emma Peel: Part Eight

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Happy Christmas, everyone!

Santa Claus (1898)

Starring: Laura Bayley, the Smith Children, and Santa Claus

Director: George.Albert Smith

Rating: Six of Ten Stars

Santa Claus (Himself) delivers toys to a good little girl and a good little boy.

If you ever doubted that Santa existed, this film--the earliest known film appearance of the Jolly Old Elf himself--will make you a believer! This piece of history shows that whether it's in the 19th century or in the 21st, Santa makes his rounds on Christmas Eve the same way.

All Christmas joking aside, this is a fun little film that, if it isn't already present, will spark a little Christmas joy in you. Check it out, right now!

 

  (It actually is also a bit of film history, in all seriousness. George Albert Smith was playing around with special effects in Great Britain at the same time that Georges Melies was doing it in France, and he was only one step removed from the cutting edge. This particular film was also so impressive that nearly ten years after its initial release, a review described audiences gasping in wonder at Santa's sudden disappearance from the screen. It's unclear if the reviewer was talking about kids or adults, though.)

Santa's Helpers are getting ready!

It's almost that time of year when Santa is roaming the globe, dropping off presents for all the good children. If he should fall behind, he has numerous helpers standing by to lend a hand. Ava Gardner, for example, is already suiting up in case she is called upon!

Meanwhile, Yvonne Craig is prepping the back-up sleigh.

The Avengers: Too Many Christmas Trees

Beginning in January 2021, we'll be featuring bi-weekly reviews of the final batch of episodes of "The Avengers" that were made in black-and white. As a sneak-peek--and because it's Christmas--we present this review!

Too Many Christmas Trees (1965)

Starring: Patrick Macnee, Diana Rigg, Mervyn Johns, Edwin Richfield, Alex Scott, Jeanette Sterke, Robert James, and Barry Warren
Director: Roy Ward Baker

Rating: Seven of Ten Stars

Top-troubleshooter for the secret services of Great Britain John Steed (Macnee) has been having strange Christmas-related nightmares. As he attends a holiday costume party with his partner Mrs. Emma Peel (Rigg), elements of his nightmares seem to be manifesting themselves in the real world.

"The Avengers" was a television series that generally focused on British secret agents working cases where other operatives had failed and been and been captured or worse. It began as a straight spy drama, but by the fifth batch of episodes debuted, with Patrick Macnee as the eccentric life-long soldier and spy for Britain John Steed; and Diana Rigg as the glamorous, multi-talented and independently wealthy Mrs. Emma Peel in the lead roles, the series had followed down the path of the James Bond films by adding more comedy and other fantastic elements into the mix. It was during 1965 - 1967 that the show was at its most popular, and it was also during this time where never quite knew what you would get. Sure--there'd be the witty banter between Steed ad Peel, but beyond that viewers might get a straight-up spy/Cold War story, a murder mystery, a sci-fi adventure, a screwball comedy, a horror-tinged thriller--or a combination of any or all of the above. 

"Too Many Christmas Trees" is part mystery and part supernatural thriller, as Steed and Peel must find the truth about why Steed's dreams seem to be prophetic... and to stop the death and mayhem they seem to predict (with their guillotines and killer Father Christmases). Eventually, the show ends up incorporating what at the time could have been viewed as science fiction: It's ultimately revealed that Steed is under mental attack by psychics working for an enemy power that are trying to weaken his defenses and literally pick his brain for the secrets he knows.

The comment about psychics being at the root of the problem in this episode could possibly be viewed as a spoiler, but it's a minor one at best. Although the enemy psychics are key to the storyline, they are revealed early on... and Steed and Peel (and the viewers) have many more mysteries to solve and threats to confront during this episode and it's virtually impossible to predict where it's going to end up. 

Highlights of "Too Many Christmas Trees" are the sequences showing Steed's nightmares; Peel's discovery of a murder victim under very spooky circumstances and the fight scene that follows shortly afterward; and just the over all flow of the plot that keeps viewers guessing until the end. (The chilling atmosphere in many scenes is not surprising when one considers this episode was directed by Roy Ward Baker, a gentleman who helmed a good number of chillers and thrillers from British production companies such as Hammer Films and Amicus. He directed a total of seven episodes of "The Avengers" with the Macnee and Riggs in the lead roles, and they are among the best of the batch.)

One very funny fourth wall inside joke happens when Steed is going through his Christmas cards and happily remarks on one from his former partner, Kathy Gale, that was sent from Fort Knox, U.S.A.. The character had been played by Honor Blackman, who, at the time this show originally aired had just co-starred in the smash-hit James Bond film "Goldfinger" which featured an attempt to rob the gold depository at Fort Knox.

This is just one of the many very funny moments that exist along side the very dramatic, very high-stakes action of this episode... but this easy co-existence of the goofy and self-referential  or satirical material alongside deadly serious plot elements is among the things that makes "The Avengers" episodes with Macnee and Rigg so much fun. 

Pre-Christmas Wonder Woman Wednesday

Every year, the lovely ladies at Shades of Gray help Santa Claus with making his rounds, ensuring that all the good boys and girls out there get their gifts. This year is extra special, because Wonder Woman is also lending a hand!

Christmas is almost here...

... and Bebe Daniels has an innovative idea for those of you who haven't gotten your Chirstmas Tree decorated yet: Just dress yourself like one. It's even more festive!

Nat King Cole brings 'The Christmas Song'

Christmas is almost here. Here's a performance of "The Christmas Song" from Nat King Cole in 1961 that even fills Krampus and the Grinch with the Spirit of the Season when they hear it.

And this year, everyone can all use a little extra Christmas cheer, so we at Shades of Gray hope this classic will bring you some.

This Swiss Trick is no Swiss Miss

A Swiss Trick (1931)

Starring: Anonymous Voice Actors

Directors: John Foster and George Stallings

Rating: Eight of Ten Stars

World-travelers Tom and Jerry are stranded in Switzerland, where learn about the strange local culture and discover the side effects of eating too much Swiss cheese.

"A Swiss Trick" is one of handful of entries in the "Tom and Jerry" series that see our heroes traveling to faraway lands and meeting the people and creatures that dwell there. This one starts a bit weak--with an extended Alps-related train gag that is more repetitive than amusing--but gets funnier and more surreal as it goes. By the time we get to the end, with our heroes having angered the Swiss villagers and having learned an unpleasant secret about their much-celebrated cheese, this emerges as one of the best entries in the series. The catchy music throughout and the nutty musical routines add greatly to the entertainment value.

This is another of those Tom and Jerry cartoons that needs to be experienced, and the longer I go on the greater the chance of me spoiling something. So... why don't you grab a soda, click on the embedded video below, and lean back for seven minutes of Swiss-inspired weirdness? 

Trivia: On the day this review was originally posted--December 19, 2020--it was exactly 89 years since "A Swiss Trick" originally appeared in theatres.

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!