Fantômas se déchaîne (1965) - film review

A year after his disappearance, the arch-criminal Fantômas announces on television that he intends to build a new secret weapon which will make him master of the world.  Realising that Fantômas is planning to kidnap the scientist Professor Lefebvre, Fandor substitutes himself for the professor and takes his place at a conference, intending to trap the evil mastermind.  All does not go according to plan, and thanks to Commissaire’s Juve’s bungling, the real professor is kidnapped, along with Fandor’s girlfriend Hélène...

The second of the 1960s Fantômas films reunites stars Louis de Funès and Jean Marais in what is essentially a parody of the spy movie, with Marais playing both the good guy (Fandor) and the villain (Fantômas). De Funès’s son Olivier also makes his screen debut, playing the part of Hélène’s younger brother.

As in the other two films in the series, Fantômas se déchaînehas some moments of brilliance but overall feels rather flat and unsatisfying.   The director André Hunebelle was almost seventy when he made this film and this is very noticeable in the film’s lack of focus and energy.  What saves the film and has turned it into a cult classic is the quality of the performances from the two principal actors and the visual feel of the film, which stems mainly from the shamelessly kitsch set design.   This just about makes up for the lacklustre direction, the plodding plot (which owes more to Hergé’s Tintin than the original Fantômas novels) and the tedious action scenes.

It is a great shame that none of the three films really gets anywhere near to exploiting the full potential of the revived Fantômas character.  Jean Marais’ performance as the green-skinned master criminal is dark and chilling yet reveals a subtle humanity not seen in the original Fantômas films of Louis Feuillade.  Unfortunately, all this is almost totally eclipsed by de Funès all-enveloping comic persona.  The film is played mainly for cheap laughs, and you can easily understand Marais’ frustration with the venture.

© James Travers 2002

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