FLESH AND FANTASY
US, 1943, 94 minutes, Black and white.
Robert Benchley, Edward G. Robinson, Barbara Stanwyck, Charles Boyer, Betty Field, Robert Cummings, Thomas Mitchell, C. Aubrey Smith, Dam May Whitty, Edgar Barrier, David Hoffmann.
Directed by Julien Duvivier.
Flesh and Fantasy is an entertaining collection of three short stories linked together by Robert Benchley discussing dreams and superstitions with a friend. The film was directed by the French Julien Duvivier who had made another omnibus film, the multi-starred Tales of Manhattan, the previous year. This film was co-produced with the star Charles Boyer.
There were to be four films here but the opening one was eliminated and reworked for a 1944 film, Destiny. The second of the three stories is based on a story by Oscar Wilde.
The stories are slighter than those in Tales of Manhattan. Betty Field wants to attract Robert Cummings by wearing a mask in Mardi Gras. A London lawyer in the second story, Edward G. Robinson, consults a fortune teller who tells him that he will commit a murder. The third is a circus story with Charles Boyer as an acrobat who has a dream which involves a woman played by Barbara Stanwyck. The three stories are those of dreams and premonitions. Julien Duvivier spent some time in Hollywood during World War Two, making Lydia as well as Tales of Manhattan. However, he was a classic French director with such films as Pepe le Moko.
The film is a blend of fantasy and the fear of superstition and predictions. Themes are those of masks transforming the person underneath them, predictions being self-fulfilling and the overcoming of bad dreams. The first story about masks is well done and features Betty Field in a very good role. The central story about self-fulfilling prophecies stars Edward G. Robinson in a role reminiscent of his The Night Has A Thousand Eyes and The Woman in The Window. Interesting character actors such as Anna Lee, Dame May Whitty and C. Aubrey Smith appear. Thomas Mitchell is the hand-reader. Charles Boyer and Barbara Stanwyck star in the third section which is slighter and more romantic. This was the kind of film popular with British producers in the early 70s with such collections as Tales From The Crypt and The House That Dripped Blood.
1. The appeal of the short stories grouped in a feature film? The tradition in the 40s? Its popularity later? The enjoyment value of each story in itself? The connection between the stories? Theme, message, the film's working as fables?
2. The significance of the title, its ominous tone? Its focus on reality and imagination? The present and the influence of past, anticipation of future? The influences within time on characters?
3. The production values, Charles Boyer and his personal involvement? The previous work of the director? The contribution of the stars?
4. The entertaining framework with Robert Benchley and his chatting, the discussion with the friend, the books and the dramatising of the stories? The discussion about superstition and the humorous comment at the end? The blend of the light and the serious?
5. The carnival story - the opening with the masks of devils and the atmosphere of hell, the suicide? The transition to the carnival and imagination in reality? The world of fantasy incarnate? The tone of the story with reality and unreality? The importance of masks and faces? The stranger guiding Henrietta to the mask? The reality of a person within, the appearance? The kindly mask transforming the inner self? The film as a little parable about true selves?
6. The focus on Henrietta - her self-consciousness, hurt, despair? Her reaction to the suicide? Her fondness for Michael and his not noticing her? Her harshness to her customers? Her jealousy? The encounter with the stranger and his saving her? The invitation to put on beauty? Her transformation with the mask ? its artificiality, but within the atmosphere of carnival? Her sympathy for Michael, her enjoying his company, the dancing, the transformation? The Cinderella touches to the story? Michael and his despair? His not wearing a mask but speaking truly? The fact that he saved her, listening to her, the sharing of the truth?
7. The carnival and the dance, the exuberance, Henrietta rushing to return the mask, the proprietor? The irony of the stranger's mask in the shop window? The point of the story and the blend of subtlety and unsubtlety in communicating it?
8. The story of Tyler and Podgers? The atmosphere of the party, the hostess and her showing off her guests? Podgers and his vanity about his skill? The illustrations of its coming true, e.g. identities, the return from the Antarctic expedition, people becoming engaged? Tyler and his curiosity? His place in society, esteem, work, reputation? His attitude towards the people at the party? The theme of greed, pride, the irony of anger and murder, cold-blooded anger and death in hot blood? Responsibility and conscience? Where did guilt lie? Who was responsible for moral action?
9. Edward G. Robinson as Tyler? His curiosity, the story of the past? His thinking ? the visit to Podgers? The device of the double character - the shadow character in the mirror talking to the self? The dramatising of his arguing? The series of accidents? His plan, the buying of the drug, the giving it as a gift to Lady Pamela? The ugliness of her death? His absence and response to it? The confrontation with the vicar and his desperation? Tyler transformed in character and in guilt? The irony of the confrontation with Podgers and his murdering him ? the arrest and his protests? A brief character sketch illustrating the power of suggestion ? or the acknowledgement of evil within?
10. The portrait of Lady Pamela, Rowena and her relationship with Tyler, the vicar and the threat, the reading of the will and the irony of its repercussions?
11. The story of the aerialist? The focus on Paul and Charles Boyer as hero? His dream and their impact, their situation in his life, influence? His presence on the ship, his falling in love, his fear? The dreams of Joan's arrest? His love for her and his self-sacrifice in giving her up and in waiting?
12. Joan and her presence in the dream, the dress, the earrings, Paul's fall? Paul's encounter with her and her resistance? The atmosphere of mystery? The dream of her arrest? Her avoiding him, her falling in love with him? Her decision on berthing ? the police and allowing her to rectify the robbery situation? Her nobility of action as regards Paul? How enjoyable a romantic melodrama? The connection of this fable with the basic themes of the film?
13. The use of visual images in film for exploration of the influence of dreams, masks, dual personalities? The interrelationship of psychology and fable?
