Eyes Without a Face [Les Yeux Sans Visage] (1960)

A Woman’s Face

***This Review Contains Spoilers***

Eyes Without  A Face is the type of horror film which earns more respect than your average film of the genre, thanks in part to its class and sophistication. It’s essentially a glorified B-movie but one which turns archetypes found in the mad scientist genre on its head. After all, horror stereotypes are not actually scary; normal people acting in an abnormal way is what’s truly frightening.

Doctor Genessier (Pierre Brasseur) has the look of a potential madman even resembling the maniac John Barrymore yet remains subdue throughout the film as a man wrestling with his conscience. His assistant isn’t a hunchback but rather a manipulative woman Louise (Alida Valli) who kidnaps young girls of the doctor’s behalf; much like in William Wyler’s The Collector, in which victims can be so easily kidnapped and taken to a secluded house without a trace. Without the creepy carnival-like music she would appear a different character – not so manipulative and eerie; ah the power of editing.

Eyes Without a Face presents by far the best combination I’ve ever seen of a movie which is unsettling yet beautiful at the same time; the two keywords which sum up the viewing experience. I’m not a massively squeamish person yet the thought of plastic surgery makes my body muscles tighten. Watching any scene with the facially disfigured Christiane (Edith Scob) makes me feel uneasy but simultaneously enraptured at the same time creating a unique combination of viewer emotion. Even with the absence of a woman’s most important physical asset, Edith Scob is the pinnacle of femininity in Eyes Without a Face. The manner in which she walks and moves in that white coat-like dress couldn’t be more angelic and I haven’t even mentioned the mask.  If there is ever a cinematic image more implanted into one’s mind, it’s Edith Scob wearing that mask. It’s creepy, it’s unsettling, it’s emotionless, yet it’s one of the most beautiful things I’ve ever seen more so than most flesh and blood faces. The masks used in the film were moulded to fit Edith Scob’s own face, could that be the contributing factor to its beauty? Or is it the angelic figure which carries the mask, whose surrogate mother still brushes her hair despite the disfigurement.

Equally as eerie and hauntingly beautiful is the only scene in which Christiane appears without the mask. Out of context, it wouldn’t entirely seem this way but the very idea that this face has been transplanted onto her from another girl is so uncanny to watch. This is also helped in part of Scob’s stunning piece of facial acting in which the Christiane is not yet used to her new face with the limited, almost robotic like display of facial movements.

My only issue with Eyes Without  Face are two plot contrivances. At the beginning of the film when Dr Genessier identifies the remains of a recovered body as those of his missing daughter, the authorities at the morgue don’t even bother asking the other man they asked to come along to look at the remains to view the body for himself. Likewise, when the character of Paulette goes missing after leaving the hospital to investigate Dr Genessier on their behalf, the police don’t follow up on her disappearance. Are these plot contrivances for the connivance of the plot or did the filmmakers deliberately set out to portray the authorities as being that incompetent?

Regardless, such plot contrivances are only a minor annoyance in a movie with such startling scenes, imagery and set design from the painting of Christiane’s mother to Dr Genessier’s chamber. I’ve long felt that a medical or laboratory-like aesthetic is one of the most effective surroundings to capture in glorious black and white. This beauty culminates in the film’s ending in which Christiane performs a simple undoing of everything her father has been working on. This is not a Charles Foster Kane style destruction of a room but rather she gracefully stabs her surrogate mother and symbolically sets dogs and birds used for Genessier’s experiments free. Aside from the doctor getting mauled by the dogs, the ending is intense yet peaceful. Some films stick with you more than others: Eyes Without a Face is one of those which I found myself thinking about its visual images for days after seeing and they won’t be leaving me soon.

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Start the Revolution Without Me (1970)

Revolution 1789

To my surprise Start the Revolution Without Me begins with none other than Orson Welles introducing the film as well as narrating it; this along with the stylistic opening credits featuring footage of John Barrymore in Don Juan I know I had to be in for a treat. Start the Revolution Without Me is largely unheard of but surely paved the way for other large-scale historical comedies of the 70’s and 80’s from the likes of Monty Python and Mel Brooks; a type of film comedy which is long extinct. The recurring repetition of the date “1789” in the narration has vibes of Monty Python while the film’s ending reminds me of that from Monty Python and the Holy Grail. Likewise, the film is probably the closest thing to a spoof of costume dramas; think the costume drama getting the Mel Brooks treatment. The film includes references to works of fiction including A Tale of Two Cities, The Corsican Brothers and The Man in the Iron Mask (portrayed here as a bumbling fool). With the film’s historical references, King Louis XVI is a slow-witted cuckold and Marie Antoinette is portrayed as a nymphomaniac.

The production spared no expense getting the shoot in actual historical locations in France. You would think they would only allow such locations for more dignified films, not a slapstick comedy. The film itself is as lavish as any big-budget costume drama but not in tone of course. Costume pictures are always a genre I’ve struggled with, dare I say I find them dull with characters I can’t identify with or care about; you know, rich people problems. Thus there’s a sense of satisfaction seeing the genre turned into a slapstick farce. Not only do you get an impressive display of madcap physical comedy, but you even get some swashbuckling action with Gene Wilder getting the opportunity to display his abilities as a swordsman.

Gene Wilder and Donald Sutherland play two sets of identical twins who are accidentally switched at birth resulting in an aristocrat with a false brother who was supposed to be born into life as a peasant and vice versa. I get the impression Sutherland plays the twins intended to be aristocrats as they seem more comfortable and in tune with the lifestyle than the two twins played by Wilder. Mistaken identity humour is often looked down upon but it makes laugh whenever it is done well. Start the Revolution Without is inspired zaniness if I’ve ever seen it.