From the Chicago Reader (November 24, 1995). — J.R.
Eyes Without a Face
Directed by Georges Franju
Written by Jean Redon, Pierre Boileau, Thomas Narcejac, Claude Sautet, Pierre Gascar, and Franju
With Edith Scob, Pierre Brasseur, Alida Valli, Juliette Mayniel, Béatrice Altariba, François Guerin, Alexandre Rignault, and Claude Brasseur.
** (Worth seeing)
Directed by Lars von Trier and Morten Arnfred
Written by von Trier, Niels Vorsel, and Tomas Gislason
With Ernst Hugo Jaregard, Kirsten Rolffes, Ghita Norby, Soren Pilmark, Holger Juul Hansen, Annevig Schelde Ebbe, Jens Okking, Otto Brandenburg, Baard Owe, and Birgitte Raabjerg.
They’re both arty European fantasy meditations on the medical profession — that’s about all that Georges Franju’s Eyes Without a Face (1959) and Lars von Trier’s The Kingdom (1993) have in common, apart from the fact that they’re both opening here the day after Thanksgiving. The differences between them are much more instructive. Franju’s Les yeux sans visage is a poetic, compact (88 minutes) black-and-white French horror picture about skin grafting that premiered inauspiciously in the United States 32 years ago in a dubbed and reportedly mangled version known as The Horror Chamber of Dr. Faustus; happily, Facets Multimedia is showing it in its original form and subtitled.… Read more »
I can very happily report that since I first published this article, in the February 6, 2004 Chicago Reader, a few Barnet films have become available on DVD, including the two I wrote about, and a few more are reportedly on the way from Ruscico, a Russian label that has been issuing subtitled DVDs that I wrote about here. Earlier, Image Entertainment brought out Outskirts and The Girl with the Hatbox on a single DVD, and in France, www.bachfilms.com released both By the Bluest of Seas (under its French title, Au bord de la mer bleue), which Ruscico has subsequently released as well, and the 1943 A Good Lad/Men of Novgorod (again, under its French title, Un brave garçon). More recently, I showed clips from Okraina as well as other early Russian talkies (Deserter and Enthusiasm) in a course, “The First Transition: World Cinema in the 30s”, Kevin Lee has made a wonderful video about By the Bluest of Seas with a rapturous critical commentary written by Nicole Brenez, and in the summer of 2011, Il Cinema Ritrovato in Bologna presented a comprehensive Barnet retrospective, most of which I was able to attend.
Recently reseeing By the Bluest of Seas at the Arsenal in Berlin, as part of a program devoted to Frieda Grafe’s favorite films, I was more blown away than ever, and it struck me that the film could be viewed in some ways as an erotic view of collectivism and socialism, with the sea serving as a perfect emotional metaphor — and a perfect sort of reply to what Luc Moullet maintained in his review of Jet Pilot, which implied that eroticism, as in that film and The Fountainhead, was always tied in some fashion to right-wing thinking.… Read more »