In one gloriously ­horrible scene, the doctor first marks the outline of the face, makes his bloody cut, then secures the incision with a forest of clamps—at which point comes, literally, the face-lift.This is Franju’s heart of darkness. Georges Franju’s Eyes Without a Face is for me the most chilling expression in cinema of our ancient preoccupation with the nature of identity. Georges Franju’s Eyes Without a Face gets a Blu-ray upgrade from Criterion, who present the film with a new 1080p/24hz high-definition transfer. It is there in the almost parodic use of medical terminology, in the hideousness of the surgical instruments, and even, in places, in the sly resonance of the imagery. With humor and verve, Bahram Beyzaie’s Iranian New Wave classic captures a moment in Iranian history when dissent against the authoritarian shah was beginning to percolate below the surface. It comes with a high recommendation. There is almost no illumination but the sheen on the skin of the woman’s face. 5.0 average based on 1 product rating. Details about Eyes Without a Face [Criterion Collection] [Blu-ray] 1 viewed per hour. The film does also receive a new high-definition presentation that looks natural and filmic, delivering a sharp picture that maybe delivers the rather horrifying details a little too well. 4. But the image of the nun anesthetized, festooned with clamps, feels mischievous even as it plays into the religious symbolism of the film, and a small wicked chuckle can be heard within the swelling cacophony of its macabre denouement.This is a story about the potential for evil of science in general and of medicine in particular, and not coincidentally it is also about patriarchy. There are images here—of terror, of gore, of inexplicable beauty—that once seen are never forgotten. The film is again framed 1.66:1 widescreen and is delivered on a dual-layer disc.

Press question mark to learn the rest of the keyboard shortcuts. With his deeply political but unclassifiable debut feature, Med Hondo set out to establish a transformational presence for global African cinema and to accelerate the emergence of a new Africa. In the first scene, we see a beautiful woman with a pale, waxy face driving a car through the darkest of nights. Following this is a roughly 7-minute excerpt from a the documentary film Les grands-pères du crime, which goes over the working relationship between authors Pierre Boileau and Thomas Nacejac, who not only wrote the novel on which Eyes Without Face was based, but are also the minds behind other classics like Vertigo and Diabolique. Vote for Umberto's white rock pearl shampoo. The DVD looked pretty good, but this transfer, which is obviously a newer one, offers a significant improvement over its predecessor. Surgical clamps proliferate. She also talks a little about Franju, his interests, and his style. The real horror in Eyes Without a Face is that Génessier is not motivated by love at all, but by his intolerable guilt at having ruined her. Georges Franju’s Eyes Without a Face is for me the most chilling expression in cinema of our ancient preoccupation with the nature of identity. It is a nice place full of nice people. What is remarkable about the film is not its thematic originality, for this is a familiar tale, but rather its imagery, its atmosphere, and the perfect rightness of the story’s narrative elements—the face and the mask, the graft and the wound, later on, the dogs and the doves. 3 Stars, 0 product ratings 0.

Not a lavish edition but it offers a decent look at the film and Franju’s career. Blood of the Beasts, Georges Franju’s 1949 documentary about the slaughterhouses of Paris Archival interviews with Georges Franju on the horror genre, cinema, and the making of Blood of the Beasts New interview with actor Edith Scob Excerpts from Les grands-pères du crime, a 1985 documentary about Eyes Without a Face writers Pierre Boileau and Thomas Narcejac Trailers A … But there is also the subtlest flavoring of black humor, which lends a certain curious lightness of touch to the unrelenting negativity of the vision. Christiane will come to play moral antagonist to her monstrous father, a good woman pitted against an evil man. r/criterion: The Criterion Collection is a continuing series of important classic and contemporary films on home video. And it is hard not to speculate that Génessier’s increasingly frantic attempts to restore his daughter’s face might be read as the response of the abusive parent to his corrupted child. 3. More horrifying by far, however, are the vivid instances when we see Génessier at work. Check out my latest review for the French cult horror classic, Eyes Without a Face. She touches the rearview mirror and we see that in the back of the car slumps a figure in a large overcoat, hat pulled low, limp and floppy as a rag doll.
She recalls how she was cast and what it was like filming Eyes Without a Face, particularly what it was like having to wear that mask, the make-up (which was shot out of focus anyways since it looked too fake for Franju’s tastes,) and briefly talks about the fear of working with the rather large dogs. For the doctor was responsible—he was driving the car when the accident that disfigured Christiane occurred, and he always drove, she says, “like a lunatic.” So what we have is a lunatic father impelled to perform ever more desperate acts of violence to make his child good once more. Franju is consistently skeptical toward those—and not just the scientist—who put their faith in reason alone. I’m surprised Trumpsters even watch Criterion films. The print still presents a few minor flaws such as a few specs scattered about and some faint if noticeable scratches or tram lines, but does improve quite a bit over the DVD in this area. Getting interviews with the two they talk about their writing process and how they first started working together. Picture 9/10. It is this feeling of hardness, of impenetrability, of the unnatural and inorganic—the synthetic—that will characterize all that is associated with Dr. Génessier and his grisly project.
But having meddled, the scientist must be punished, and punished he will be.It is a mark of Franju’s diabolically inspired storytelling that he should place a family at the center of the horror. There is a general hollowness to the track, though, which does give it a flat quality.