characters of many faces
by Douglas Messerli
Jacques Champreux and Francis Lacassin
(screenplay), Georges Franju (director) Judex
/ 1963
Georges Franju’s 1963 film, Judex, is one of those films that
critics might be immediately puzzled about how to describe to viewers who have
never seen it. Despite Franju’s often very original filmmaking, this work is
based on a 1916 French film by the great serial cinema-creator, Louis Feuillade
(several of whose shorter films I have previously reviewed), in which the same
character and some of the same events enchanted the early 20th-century
film-goers.
Yet, Franju makes this film—suggested to him by Feuillade’s grandson, Jacques
Champreux, who also as a collaborator on the script—with many completely
contrary movies from the original. Franju has long wanted to remake Feuillade’s
Fantômas, for which he could not get
permission. No matter, Franju took matters into his own hands, focusing on his
own beautiful black-and-white images, which he’d already established in his 1960
classic Eyes Without a Face, while,
as he had also done in that film, basically ignoring the acting talents of his
characters.
Franju
loved the inter-connectedness of all his films, while embracing film history in
general. In this case, he hired Édith Scob, who played the terribly scarred and
frightened daughter in that earlier film to play the villain’s daughter
Jacqueline; as the hero he chose the handsome American actor, Channing Pollack
to be Judex, but dressed him up throughout much of the film as an elderly
bearded man, Vallieres, serving as secretary to the film’s villain, banker, Favraux;
the building-climbing cat-like woman, also nanny to Jacqueline’s child (Francine
Bergé), is eerily similar to another Feuillade villain, Irma Vep in his Les Vampires; and Franju even manages to
bring in Fantômas as reading matter
for the bumbling but gentle detective Cocantin (Jacques Jouanneau).
With each of these shifts, moreover, Franju’s film also sheds its
genre, taking on various movie types: a revenge drama, a spooky murder mystery,
a devious film about kidnapping, with its almost comic intertitles, a silent
movie with spoken dialogue, and, finally, in its absolute devotion to birds, a
kind of tribute to Hitchcock’s movie of the same year, The Birds. As The New York
Times justifiably commented at the time of Judex’s US release: “It is hard to tell whether Georges Franju, who
made it, wants us to laugh at it or take it seriously."
Given my basically contrarian nature, I’d argue that the film is both a
loving and almost comical tribute to the absurd Feuillade original while also
being a kind of serious exploration of the very tropes of filmmaking that for
so long dominated French cinema. One must remember that Franju, as co-founder
of the Cinémathèque Française film archive, knew film history intimately, and
in this film was not only exploring some of its various manifestations but
putting himself and his films into that context. If to many viewers of Judex the work might seem more like
pastiche than a coherent movie, I agree with them, but simply ask them to enjoy
the circus of nods to popular film history. This may be a kind of silly movie
at times, but it is also an extremely intelligent one which ought to be taken
utterly seriously. The film is clearly not one of his greatest, but if seen
from the right perspective is so fascinating that it cannot be forgotten.
Los Angeles, July 10, 2018
Reprinted from World Cinema Review (July 2018).
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