The Face Behind the Mask (1941) and Les Yeux Sans Visage [Eyes Without a Face] (1960)

Toronto Film Society presented The Face Behind the Mask (1941) and Les Yeux Sans Visage [Eyes Without a Face] (1960) on Monday, July 8, 2024 as part of the Season 76 Fall Series, Programme 8.

The Face Behind the Mask (1941)

Production Company: Columbia Pictures.  Producer: Irving Briskin.  Director: Robert Florey.  Screenplay: Allen Vincent, Paul Jarrico, based on Interim, a radio play by Thomas Edward O’Connell, story by Arthur Levinson.  Cinematographer: Franz Planer.  Editor: Charles Nelson.  Music: Morris Stoloff.  Released January 16, 1941.

Cast: Peter Lorre (Janos ‘Johnny’ Szabo), Evelyn Keyes (Helen Williams), Don Beddoe (Lt. James ‘Jim’ O’Hara), George E. Stone (Dinky).

 

Released in 1941, The Face Behind the Mask is a gripping film noir directed by Robert Florey. Starring Peter Lorre, the narrative delves into themes of identity, redemption, and the human spirit, remaining a significant entry in the film noir genre over 80 years after it came out.

The story follows Janos Szabo, a hopeful Hungarian immigrant who arrives in America with dreams of a better life, ready to embrace the opportunities before him. However, his dreams are brutally shattered when a devastating fire disfigures his face, leaving him physically and emotionally scarred. The once hopeful immigrant finds himself ostracized and unable to find legitimate work due to his appearance.

Desperate and facing relentless rejection, Szabo turns to a life of crime, using his cunning and intellect to rise in the underworld. His transformation into a hardened criminal is a poignant commentary on society’s harsh treatment of those who are different. Amidst his criminal endeavors, Szabo meets Helen Williams, a blind woman who sees beyond his disfigurement, offering him a glimpse of hope and redemption. Helen’s kindness and understanding become a beacon for Szabo, challenging him to confront his actions and seek a better path. His struggle for redemption and the ultimate resolution of his story leaves a lasting impact on the audience, underscoring the film’s central themes of identity and human dignity.

The film masterfully explores the profound impact of physical disfigurement on identity and self-worth. Szabo’s transformation from a hopeful immigrant to a hardened criminal highlights the societal prejudices and barriers faced by those who look different. The film sheds light on the harsh reality that physical appearance can dictate one’s opportunities and treatment in society.

The story also delves into the human desire for acceptance and redemption. Szabo’s journey is a powerful portrayal of a man seeking to reclaim his humanity amidst a life of crime. His relationship with Helen serves as a catalyst for his inner transformation, illustrating the potential for kindness and empathy to inspire change.

These themes resonate deeply, making the film a compelling study of character and circumstance. The narrative challenges viewers to consider their perceptions of identity and the superficial judgments that often accompany physical appearance.

Peter Lorre’s portrayal of Janos Szabo is both haunting and sympathetic. His nuanced performance captures the pain and desperation of a man forced into a life he never wanted. Lorre’s expressive eyes and subtle mannerisms convey Szabo’s inner turmoil, making his character both relatable and tragic.

Helen Williams, played by Evelyn Keyes, serves as a beacon of hope and humanity. Her blindness symbolizes the ability to see beyond physical appearances, embodying the film’s central message of empathy and acceptance. Helen’s unwavering support and compassion for Szabo highlight the transformative power of love and understanding.

The supporting characters, including Szabo’s criminal associates, add depth to the narrative. Each character represents different facets of society’s response to disfigurement and crime. Their interactions with Szabo provide insight into the various motivations and moral complexities within the criminal underworld.

Director Robert Florey employs classic film noir techniques to enhance the film’s emotional depth and tension. The use of shadow and light reflects Szabo’s inner turmoil, creating a visually striking and atmospheric experience. The stark contrasts and dramatic lighting underscore the film’s dark themes, immersing the audience in Szabo’s world.

The cinematography, with its meticulous framing and composition, captures the essence of the film noir genre. Florey’s direction ensures that each scene is crafted to evoke a specific response, whether it’s sympathy, tension, or reflection. The music and sound design further enhance the narrative, with a soul-stirring score that complements the film’s emotional weight.

Upon its release, The Face Behind the Mask received positive reviews for its gripping story and Peter Lorre’s standout performance. Critics praised the film’s ability to humanize its protagonist despite his criminal actions. Lorre’s portrayal of Szabo was particularly lauded for its depth and emotional resonance.

Over the years, the film has gained a reputation as a hidden gem in the film noir genre. Its thematic complexity and emotional depth have earned it a place in the annals of classic cinema. Modern audiences and critics continue to appreciate the film’s exploration of identity and redemption, solidifying its legacy in film history.

Les Yeux Sans Visage / Eyes Without a Face (1960)

Production Company: Champs-Élysées Productions, Lux Film. Producer: Jules Borkon. Director: Georges Franju. Based on Les Yeux sans visage by Jean Redon.  Adaptation by: Boileau-Narcejac, Jean Redon, Claude Sautet. Dialogue: Pierre Gascar. Cinematographer: Eugen Schüfftan. Editor: Gilbert Natot. Music: Maurice Jarre. Released March 2, 1960.

Cast: Pierre Brasseur (Le docteur Génessier), Alida Valli (Louise), Juliette Mayniel (Edna Grüber), Alexandre Rignault (L’inspecteur Parot).

Eyes Without a Face (Les Yeux Sans Visage) is a groundbreaking horror film directed by Georges Franjul. The story follows Dr. Génessier, a brilliant and obsessive plastic surgeon, who is consumed by guilt after a car accident he caused left his daughter Christiane horribly disfigured. Determined to restore her lost beauty, Dr. Génessier kidnaps young women with the help of his loyal assistant, Louise), and performs experimental surgeries in an attempt to graft their faces onto Christiane’s.

Dr. Génessier’s mansion, secluded and eerie, becomes the setting for these gruesome experiments. Christiane, isolated from the world, is forced to wear a haunting, expressionless mask to cover her disfigurement. Her mask, a stark white visage, is both beautiful and terrifying, symbolizing her lost identity and the dehumanizing nature of her father’s obsessive quest.

As the surgeries fail one after another, Christiane becomes increasingly despondent, trapped in her father’s mansion and longing for freedom. Her yearning for normalcy grows as she watches the outside world through her window, feeling more like a ghost than a living person. The film builds to a climactic and tragic confrontation as Christiane seeks to escape her father’s control and reclaim her life.

Released in 1960, the film is renowned for its atmosphere, evocative visuals, and poignant exploration of themes such as identity, guilt, and redemption, evoking deep emotional responses while challenging societal norms and expectations. Génessier’s obsession with restoring his daughter’s face serves as a metaphor for the destructive nature of vanity and the societal pressures to conform to ideals of physical perfection. His actions raise profound ethical questions about the lengths one should go to in the name of science and personal redemption.

Identity is also explored in the film. Christiane’s mask becomes a powerful symbol of her lost identity and the dehumanizing effects of her father’s experiments. As she longs to reclaim her sense of self, we witness the tragic consequences of reducing a person to their physical appearance. Her journey is a poignant reminder of the inherent value of individual identity beyond physical looks.

Georges Franju’s direction is a masterclass in creating atmosphere and tension. The film’s cinematography, by Eugen Schüfftan, uses stark contrasts and fluid camera movements to evoke a dreamlike, almost surreal quality. The use of masks and mirrors adds to the film’s eerie, otherworldly feel, emphasizing the themes of identity and perception. Franju’s meticulous attention to visual detail creates an atmospheric and immersive experience.

The creepy score by Maurice Jarre complements the film’s unsettling visuals, heightening the sense of dread and melancholy that pervades the story. Jarre’s music, with its haunting melodies and eerie tones, underscores the emotional weight of the narrative. The surgical scenes, presented with a stark, clinical realism, are particularly effective in conveying the horror and ethical dilemmas at the heart of the film.

Franju’s background in documentary filmmaking also brings a stark realism to the surgical scenes, making them all the more disturbing. His use of minimal dialogue and reliance on visual storytelling enhances the film’s atmospheric quality, allowing the audience to engage deeply with the emotional and psychological undercurrents of the story.

Dr. Génessier, portrayed by Pierre Brasseur, is a complex character driven by guilt and obsession. His descent into madness is portrayed with chilling subtlety, making him both a sympathetic and horrifying figure. Brasseur’s performance captures the moral ambiguity of a man who believes he is doing right by his daughter, even as he commits monstrous acts. His cold, methodical demeanor contrasts with moments of vulnerability, adding depth to his character.

Édith Scob’s portrayal of Christiane is both haunting and tragic. Despite her character’s limited dialogue, Scob conveys a profound sense of loss and longing through her expressive eyes and body language. Christiane’s transformation from a passive victim to an active agent in her own fate is a powerful arc that underscores the film’s exploration of identity and autonomy. Her masked presence, simultaneously ethereal and sorrowful, leaves a lasting impression on the audience.

The relationship between Dr. Génessier and Christiane is complex and multifaceted. His actions, driven by guilt and a desire for redemption, highlight the fine line between love and control. Christiane’s gradual empowerment and rejection of her father’s domination serve as a powerful statement on autonomy and self-determination. Alida Valli’s Louise is a fascinating character, loyal to Dr. Génessier to the point of complicity in his crimes. Her motivations are complex, rooted in a mix of devotion, fear, and possibly love, making her an intriguing figure in the narrative. Valli’s performance brings a nuanced portrayal of a woman caught in the moral grey areas, further enriching the film’s character dynamics.

Upon its release, Eyes Without a Face received mixed reviews, with some critics disturbed by its graphic content and others praising its poetic and artistic approach to horror. The film’s unsettling imagery and moral complexity challenged contemporary audiences, leading to varied reactions. However, over time, the film has been re-evaluated and is now regarded as a classic of the genre.

Modern critics and audiences appreciate the film for its bold exploration of complex themes and its unique blend of horror and poetic cinema. Eyes Without a Face has earned its place in cinematic history as a film that challenges and transcends the conventions of its genre. Its influence can be seen in numerous films and directors, including the likes of John Carpenter and Pedro Almodóvar, who have cited it as an inspiration.

Notes by Leandro Matos