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Flesh and Fantasy (1943)

Approved | | Drama, Fantasy, Romance | 29 October 1943 (USA)
An anthology of three loosely connected occult tales, with ironic and romantic twists.

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Writers:

(story), (story "Lord Arthur Saville's Crime") | 4 more credits »
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Cast

Complete credited cast:
...
Marshall Tyler (Episode 2)
...
Paul Gaspar (Episode 3)
...
Joan Stanley (Episode 3)
...
Henrietta (Episode 1)
...
Michael (Episode 1)
...
...
King Lamarr (Episode 3)
...
Rowena (Episode 2)
...
Lady Pamela Hardwick (Episode 2)
...
Dean of Norwalk (Episode 2)
...
...
Stranger in Mask Shop (Episode 1)
David Hoffman ...
Davis (Framing Story)
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Storyline

Two clubmen discuss the occult, introducing three weird tales: 1) Plain, bitter Henrietta secretly loves law student Michael. Then on Mardi Gras night, a mysterious stranger gives her a mask of beauty that she must return at midnight. 2) At a party, palmist Podgers makes uncannily accurate predictions, later telling skeptic Marshal Tyler that he will murder someone. The notion obsesses Tyler, with ironic consequences. 3) High wire artist Gaspar dreams of falling, then loses his nerve. He recognizes Joan from his dreams, and falls for her. Will any of his dreams, involving Joan and disaster, come true? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

The motion picture above all! (Poster).

Genres:

Drama | Fantasy | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

29 October 1943 (USA)  »

Also Known As:

Six Destinies  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

"The Screen Guild Theater" broadcast a 30 minute radio adaptation of the movie on April 23, 1945 with Charles Boyer reprising his film role. See more »

Quotes

Jeff: [to Paul] Well, we all have dreams. Like the time I dream my wife up and leaves me. I was mighty happy till I woke up and found out she was still there.
Jeff: [He laughs] Then I dreamed it over and over again, and every time that I woke up, there she still was. Got so now I don't pay no attention to no dreams about her. I just groans.
See more »

Connections

Referenced in Columbo: How to Dial a Murder (1978) See more »

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User Reviews

 
Flesh Is the Spur
15 August 2001 | by (brighton, ma) – See all my reviews

Flesh and Fantasy is a rare forties Hollywood attempt at an art film, and while I cannot say it's wholly successful, it's a good try. Directed by the highly esteemed French director Julian Duvivier and produced by the highly esteemed French actor Charles Boyer, it consists of three stories of the supernatural, told to Robert Benchley, in a framing device, in what appears to be a men's club.

The first tale concerns a homely girl who is turned beautiful by the power of a mask sold to her by a strange little shopkeeper. It's a slight, lovely fable, well-acted by Betty Field and Bob Cummings. In the second story we find Edward G. Robinson in London, where a fortune teller reveals to him a fate he tries vainly to escape. The third segment, despite the presence of Charles Boyer and Barbara Stanwyck, is rather mediocre, and concerns predictions in a circus setting. Of these three tales the middle one, an adaptation of an Oscar Wilde story, is by far the best; it is also visually the most appealing.

Duvivier brings a Gallic gentility to the film, and his compositions are excellent and always fastidious. One gathers that the movie must have been a labor of love for producer Charles Boyer. All the actors are in top form, and the picture does not at all feel like a product of the Universal studio of this period.

Flesh and Fantasy is one of several wartime movies that dealt with the issues of death and fate, which were obviously hanging heavier than unusual on peoples' minds in those days. Off the top of my head I can think of Here Comes Mr. Jordan, I Married a Witch, A Guy Named Joe, Between Two Worlds, The Uninvited and The Picture Of Dorian Gray. Death, rather than dying, was a feature of most such films, which as a rule steered clear of anything grisly, which is to say reminiscent of battlefields. Flesh and Fantasy is quite good at this. With its soft chairs, cobbled streets and a convincing London bridge thrown in for good measure, it makes facing up to one's fate feel as comfortable and delicious a proposition as attending a masquerade ball.


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