Fantomas (1964) User Reviews

Wonderful 60s Fun

[grendelkhan · 7/10 · 31 December 2011]

I had read about this film but had never had a chance to view it, or so I thought. I acquired a copies of all three films and watched them. I loved this one, with its style and wit. Jean Marais is outstanding in the dual roles of hero and villain and Louis de Funes is equally good as the hapless Inspector Juve. The film is lightweight but that is its strength. It never gets bogged down in overly serious drama so it can revel in the absurd plot, which is often far more entertaining than even the best drama. It certainly screams the 60s, which is probably my favorite decade, from a design standpoint. Fantomas' lair is a triumph of set design and the flying Citroen is beautifully over the top.

As it turned out, in viewing the film, I realized I had seen part of it before, as I had a vivid memory of the rooftop chase, when Fantomas escapes using a crane. This is a great film for a rainy day or quiet weekend. It won't go down as a masterpiece of cinema, but it will entertain you for a couple of hours, which is far more than you can say for a lot of movies these days. Check it out if you stumble across it.

FANTOMAS (Andre' Hunebelle, 1964) **1/2

[Bunuel1976 · 6/10 · 18 August 2006]

I had always been intrigued by the exploits of this famous criminal mastermind, and especially its initial cinematic adaptation via the Silent Serial of 1913-14 made by Louis Feuillade (whose French 2-DVD Set I purchased, rather costly, and enjoyed a great deal). Another interesting version was the 1932 Paul Fejos film, which recently turned up on late-night Italian TV (in the original language!) - but I missed out on it because at the time I was in Hollywood!!

To be honest, I wasn't expecting much from the Sixties revival but, as it turned out, it's a likable - and stylish - enough triptych, even if it's somewhat unbalanced by the comic relief (which increased with each new entry). Also, since I watched the three films back-to-back, they've become more or less interchangeable in my mind - especially given the fact that they have much the same cast and crew!

It's interesting that Jean Marais has a dual role - as had been the case with Jean Cocteau's BEAUTY AND THE BEAST (1946), where he was hidden behind an amazing animal make-up for virtually the entire film, as well as playing the rather bland hero - as both Fantomas (his features are still recognizable behind the rather wonderful blank-faced mask) and the intrepid reporter hero (at which he managed to be credible, despite being 50 years old!), with an equally brave partner (the lovely Mylene Demongeot) in tow; while popular comic Louis De Funes appears as Commissioner Juve, forever in pursuit of the elusive and fiendish criminal, abetted - but more often hindered - by a rotund Inspector played by Jacques Dynam.

Unfortunately, the film aspired more to the tongue-in-cheek approach, colorful scenery and the gadget-heavy thrills of the James Bond extravaganzas (featuring even a similar score!) rather than the poetic touch - which went hand in hand with the inherent surrealism of such fare - which Georges Franju gave to a contemporaneous remake/compression of another Feuillade Silent Serial, JUDEX (1963; the original was released in 1916-17). Perhaps the best scene(s) of the film is the extended set-piece at the climax in which Fantomas utilizes five separate means of transportation - train, car, motorbike, boat, submarine - in order to escape the clutches of the Law (successfully).

the French answer to James Bond - part 1

[wvisser-leusden · 8/10 · 1 March 2015]

One must travel back to the 19-Sixties to appreciate 'Fantomas' to the full.

In those days English James Bond was taking off with his second or third film, creating a hype that is exceptional in film-history right up to this day. According to the customs back then, the French came up with 'Fantomas', providing a counter-weight that made considerable impact. However, in the long run James Bond has lived on while Fantomas is by now clear history.

Watching this film for the first time since 1965 or so, one must conclude that 'Fantomas' makes a comedy, as well as a clever persiflage of the contemporary James Bond (performed by Sean Connery). Shot with the techniques available back then, catching well-acted roles by prominent French actors and actresses of those years.

For those who were not around in 1965, I fear that 'Fantomas' has not much to offer. Knowledge about the mid-Sixties is necessary to understand this film to the full.

just Fantomas

[Kirpianuscus · 1 October 2016]

first, it is expression of a long and solid tradition of French comedy. second, it is a brilliant demonstration of the wise use of clichés of a genre for a fascinating work. third, it reminds the genius of an impeccable art of Louis de Funes, the flavor of a time, the seduction of Jean Marais, the fine mix between action, humor and cultural references. a film who reminds more than presents. because , part of an easy genre, it is made with beautiful precision. its atmosphere remains seductive after a half of century. it remains a lesson of cinema in front with contemporary comedies/action films. short, a delight. nostalgic, nice, touching. and a character who seems be symbol of dark fears and secret fascination of bad.

Two masks of Fantômas

[Cristi_Ciopron · 7/10 · 9 July 2009]

Firstly it must be reminded to our dear readers that the Hunebelle franchise is not the adaptation of Allain's installments; as the credits put it, the script is inspired by the original Allain novels. Moreover, the Hunebelle movies update it, and give it a funny twist. (FANTOMAS was indeed twice adapted—once as a silent serial, then as a TV series.) I find Hunebelle's movie about Fantômas interesting—basically, first because I like Marais; then, because I like some of Funès' performances; thirdly, because I'm interested in Hunebelle's movies; then, because I enjoy the '60s screwy gadget fictions. (I am a Fantômas aficionado, true, but this is no reason to enjoy Hunebelle's interpolations and addenda.) Hunebelle's FANTOMAS has the air of a blockbuster, as it was intended; the trio of characters is handled by two actors, Marais taking over both Fantomas and Fandor while Funès does both Juve and Fantomas disguised. This first installment features the jewels adventure (--Fantomas' first robbery disguised as poor Fandor-but I guess that Juve and Fandor aren't called like that in this updated version …--save for Juve who I think is called once 'Juve' by Fantomas, when preparing to impersonate him for the theater attack); then the Juve impersonation—used in front of the theater and at the casino.

There's Marais –firstly, before switching to the mastermind, in a less physical role than he deserved (Fandor is the brand of witness—roles, a la Watson or Hastings, not advantageous for a lead), but then he becomes the villain and his agility is needed; a fair blonde, Mylène Demongeot, whose nice tits are quite visible by the '60s see—through; and Funès, whose routine is acceptable and sometimes delightful.

The once famous Hunebelle adapted not a few of the French popular novels or at least he took his cues from them; he mostly had Marais for the leading part in these many adaptations—and here we find out what was the chief note achieved by …--he exploited Marais' strikingly creepy look, he used the fact that Marais could look eerily. This way he adapted FANTOMAS (i.e., he filmed a script inspired by the original books …), Sue, Zévaco, Dumas, Féval.

Hunebelle adapts Sue by giving him a suited eerie look; bizarrely, he softens a surrealist masterpiece like FANTOMAS and makes it less creepy than it ought to. On the other hand, the '60s were, in the Anglo—American culture, the age of a surrealist eeriness, updated as spy flicks, etc..

Hunebelle was quite sloppy, and for a comedy this first FANTOMAS obviously lacks the required briskness, charm and lightness; at Hunebelle you see the intention of a comedy, but not its very elements—look at the police inspector's role, the 'once Jouve'—Funès manages to pull in an element or two of comedy, but they are beyond the script, and beside the script.

The music is glorious; Mylène Demongeot, extremely hot, the action, decent, Marais—in his best shape, the cast—likable. FANTOMAS as filmed by Hunebelle is nice action fare. It is a try to do American action fare, by a director who was not one of the fittest for the job.

If you like, you may read my comments about other Marais movies (JOSEPH BALSAMO, TRAIN D'ENFER and TYPHON SUR Nagasaki), or about the straight adaptation of FANTOMAS.

Spectacular

[Apollo15AnnoPianoCatDogSnailAnt · 7/10 · 20 January 2020]

This is a freewheeling fun narrative. Weeeeeeee. Funny parts along with the things happening.

11/19 p.s. This is a technical marvel of a flick that shows motorcycles in a chase sequence as they crash and riders flip through the air like out of The Road Warrior from predating the same type of action being done here way before.

A bizarre take on Bond territory 'á-la-Française'

[andrea-prodan · 7/10 · 29 June 2021]

It was wonderful for me to discover this classic French gem so late.

Why?

Because I was brought up on 007, and Fantomas harks back to early Bond in many ways: Thematically, musically, visually. But whereas Bond films perpetrate English rational thinking and ironic humor, Fantomas goes the French way: Farce, sexyness, and ...Louis DeFunés!!!

We are nearer to comic- book villainy here.

We also notice that lots of FRANCS were put where the Brits put their POUNDS. By this I don't doubt for a minute that by showing off Paris and the French Riviera the French government certainly wished to rival Britain's skilfully propaganda operation perpetrated by Bond films. (Let's not forget that Ian Fleming, who authored the books, was a British agent).

But though Marais has much of Roger Moore's (a future Bond) suave appeal, it is the zany, manic DeFunés who steals the show...turning the film into something hard to classify. In fact he single-handedly wreaks havoc, and triggers off material for Peter Sellers' future inventions like Inspector Clouseau (of the Suretée).

The stunts in this film are amazing, and coarsely riveting. Marais and elderly DeFunés pull off quite a few themselves. And the inflatable dinghy finale is so tongue-in- cheek it will have you giggling like a toddler.

Vive la Liberté!

Hilarious black comedy

[aklocke · 10/10 · 4 September 2001]

I watched this film tonight on TV5 again for the first time in 20+ years and loved it. I had always wanted to see it again because it had left only good memories from when I was a teenager and watched it on German TV where it was very popular in the 70s. The main character is an evil rogue who outwits his pursuers by his skills in disguise and technical resources. The film (and its sequels) is based on a series of 1910s French pulp novels which have only sparsely been released in the U.S. (sadly unavailable in print right now). The novels influenced French surrealist and avant-garde artists/writers because of their fascination with moral transgression and black humor (a term coined by the surrealist Andre Breton in the 1930s). If you like slapstick comedy you will also enjoy Louis de Funes in the role of Inspector Juve. Sure, the film is badly made by today's standards and technically not as brilliant as the 1960s James Bond movies that it mocks--but, hey, at least the bad guy is smarter than the good ones, which is still refreshing to see compared to most oh-so-morally-PC Hollywood flicks today.

Enjoy!

Little script, lots of stunts

[gridoon2024 · 6/10 · 3 February 2012]

Fantomas appears to be one of the most famous figures in French pop culture (his first appearances in cinema date back to the early 1910s!), and yet this is the first time I get around to watching a film with him in it. Fairly clearly intended to be mostly a set-up for further screen adventures, this film is short on story but long on stuntwork, much of which is quite admirable. My hat goes off to Jean Marais for at least one amazing stunt of him (and it IS clearly him) climbing a ladder hanging from a helicopter as it flies away (no James Bond actor ever did something like that - they always relied on stunt doubles). Another highlight is a wild ride on a car with no breaks down a twisting mountain road! As a comedy, the film is occasionally funny. The hyperkinetic, frequently mugging Louis De Funes will not appeal to everyone's taste - he's not THAT far removed in style from Franco and Ciccio, the equally popular at the time Italian comedians; you can take that as a compliment or as a pan, it's up to you! **1/2 out of 4.

Fantomas rulz!

[FrankoFerko · 10/10 · 7 August 2005]

The Fantomas novels were resurrected in the early 1960s as France's own answer to the James Bond frenzy that swept the Continent and the world. The first one of the trilogy was filmed in 1963-64 and released in 1964. This film is shot in normal aspect ratio 4:3, whereas the following two were filmed in anamorphic wide screen.

The opening sequence of the film is already a gas: Fantomas pulls up in a chauffeured driven Rolls Royce Silver Cloud to a fancy jeweler's store next to the Paris Ritz Hotel. His mask identifies him as a British Lord. He pays for the jewelery with a personal check and then drives off with his stunning lady friend, smiling and laughing his distinct laughter. Next, we see the check being held in the hands of the jeweler, when suddenly, the amount and signature written on it disappear (invisible ink!) and the word "FANTOMAS" appear. Pretty high-grade stuff for 1964.

Interesting to note that in all three films, the actor Jean Marais played both the criminal mastermind Fantoms and ladies man Fandor, the journalist.

I also enjoyed looking at the journalist Fandor's hip mansard apartment. Top gimmick is the rubber masks that offer Fantomas anyone's identity at will. The flying Citroen car debuted here and was used on an AMC car that flew with retractable wings 10 years later in a Bond movie.

It would be so nice to be able to get the Fantomas films on DVD here in North America.

French masquerade

[adrianovasconcelos · 6/10 · 3 March 2024]

Director Andre Hunebelle is no familiar name to me and, according to the IMDB report on him, he was "an odd job" man, doing everything from thrillers to swashbucklers, to comedies, and possibly a great deal more that I have not watched... and, on the strength of this film, I doubt I will look forward to watching more of his work.

Jean Marais is entrusted with not one but two roles, those of Fantomas and of the "Point du Jour" reporter/journalist Fandor covering Fantomas as he steals things from under everyone's nose. He does more than that, too: as Fantomas, he sabotages the brakes of the car in which Marais and Demongeot wake up, so they can die - and what follows is a ridiculous ride down and up mountains, with a supposedly brakeless vehicle actually heard applying brakes, among other impossibilities!

That's not all! Fantomas' master stroke: he copies French Police Commissar Juve (Louis de Funès') mug! And it takes a facial reconstruction exercise at the Police HQ for Juve to realize that Fantomas is impersonating him! I wonder if Hunebelle and the screenwriters watched Peter Sellers as Inspector Clouseau in THE PINK PANTHER one year earlier. If they did, pity de Funès did not act with the same restraint as the British comedian!

The 1960s decade opened with a new fetiche: that of rubber masks to change your identity. You saw it in TV productions like THE FUGITIVE, spy-spoofing GET SMART, in the intro to James Bond's FROM RUSSIA WITH LOVE (1963), in John Huston's THE LIST OF ADRIAN MESSENGER (1963), so FANTOMAS just picked up the fad and extended it (Fantomas' mask is quite good in its bluish, ghoulish way).

Other than that, the curvaceous Mylène Demongeot, and the slapstick, unfunny de Funés, continually repeating "faster, faster, faster" ("vite, plus vite") wherever he might be and whatever he might be traveling on.

I first saw FANTOMAS as a kid in 1967, and it left me with a vague sense of fear and fascination, prompted by the mask, the man's evil... now, nearly 60 years on, I had to force myself to watch it to the end to try to rediscover that magic - but found none.

Out of respect for what I saw as a child, I give it an undeserved 6/10.

one word to describe it "Brilliant" and Super funny

[sam_smithreview · 9/10 · 2 May 2016]

The Fantomas novels were resurrected in the early 1960's as France's own answer to the James Bond frenzy that swept the Continent and the world. The first one of the trilogy was filmed in 1963-64 and released in 1964. This film was just Brilliant, from the acting, the super funny dialogue and to the incredible action. YES! the film had some really amazing action for its budget, make and year of release.

The opening sequence of the film is already a gas: Fantomas pulls up in a chauffeured driven Rolls Royce Silver Cloud to a fancy jeweler's store next to the Paris Ritz Hotel. His mask identifies him as a British Lord. He pays for the jewelry with a personal check and then drives off with his stunning lady friend, smiling and laughing his distinct laughter. Next, we see the check being held in the hands of the jeweler, when suddenly, the amount and signature written on it disappear (invisible ink!) and the word "FANTOMAS" appear. Pretty high-grade stuff for 1964.

Interesting to note that in all three films, the actor Jean Marais played both the criminal mastermind Fantomas and ladies man Fandor, the journalist.

I also enjoyed looking at the journalist Fandor's hip mansard apartment. Top gimmick is the rubber masks that offer Fantomas anyone's identity at will. The flying Citroen car debuted here and was used on an AMC car that flew with retractable wings 10 years later in a Bond movie.

It would be so nice to be able to get the Fantomas films on DVD here in North America.

update / reboot of the adventures of a classic villain

[myriamlenys · 7/10 · 24 June 2020]

Fantômas, as a literary creation, had already reached a venerable age when the 1960's came along and provided him with a new incarnation. Many an approach would have been possible : the surreal, the dark, the poetic, the realistic, and so on. Here the makers went for a big-budget mix of comedy (including homage, satire and pastiche) and adventure, aimed mainly at the young. By way of educated guess I would suppose the movie was aimed mainly at boys between, say, the ages of 11 and 15. There are adults, however, who like the movie well enough, mainly as a guilty pleasure.

It's the first, and best, in a series of Fantômas movies. The prestigious cast boasts stars such as Louis de Funès and Jean Marais. The latter plays two roles : he plays both an enterprising, intrepid reporter and a supervillain much given to snatching fashionable jewellery and hatching inhuman plots in the company of obedient minions. This dual role allows for scenes where A impersonates B who's impersonating A, and so on. (Watch out for the basic Fantômas mask, which is rather cool.)

Early on in the movie, the reporter gets noticed by the supervillain because he wrote a fake newspaper scoop which the supervillain found offensive to his sensibilities. Much of the supervillain nonsense written by the reporter seems to fit the Fantômas character well enough ; as a result it's not entirely clear why the man's complaining... Probably didn't receive enough attention as a toddler, or something like that.

Jean Marais, as our reporter hero, is given a much younger fiancée, in the person of blonde and beauteous Mylène Démongeot. While the role does not tax her abilities, it is worth remembering that the said actress did very well in the "noir" genre.

"Fantômas" is a colourful movie with excellent locations, a cheery musical score and a number of impressive stunts. It is not wise, however, to examine it too deeply, as the various plot holes could make for a bumpy ride... Visually and aesthetically, it bears a similarity to the "Diabolik" movie. However, I can't in good conscience recommend "Diabolik" to you. (If I remember it well, I wrote a rather nasty review ending with "Well, the movie may be dire, but at least it's not dire in a boring way".)

Innocent French 60's fluff - harmless diversion

[TallGuy · 5/10 · 7 August 2000]

Recently saw this one on TV again, rekindling some childhood memories. The plot is laughable but does not even seem to take itself seriously. There is a hunch of some of the Bond movies with the mysterious almost-all-powerful villain, improbable chase and action sequences and a behaviour by the main figures that sometimes defies any attempt at rationalization. Watchable for the 60's feel, some comic and some burlesque scenes.

Hilariously dorky

[databong · 14 September 2001]

If you love dorky movies, this is the Height of Dork. James Bond meets Mad Mad Mad Mad World meets Abbott and Costello, all in French. It's a parody of itself, including the sped up chase scenes, idiotic plot, and the "jazzy" exaggerated score featuring way too much marimba. The actors do seem to be having fun, it seems.

Not for the weak, but truly for serious dork appreciating professionals only.

Louis de Funès will always be the best French comedian of all time.

[deloudelouvain · 6/10 · 9 February 2021]

I remember watching Fantômas with my grandparents when I was a kid. For 1964 it was a high quality movie and so the whole family enjoyed watching or rewatching Fantômas. But now when I watched it so many years later I come to the conclusion that in the past people were easily satisfied. The plot doesn't make any sense at all in some scenes, I'm not going to spoil anything about it, but you will see what I mean once you watch it. But it's still worth watching, even now, like any other movie with Louis de Funès, a most regretted actor that made so many people laugh with his nervous facial expressions. In Fantômas it's Jean Marais and Louis de Funès that carry the movie, it's still funny so many years later, but it's just not the best Louis de Funès movie. I still did enjoy it though, and I will watch the two other Fantômas movies sometime this week, as it brings back far memories where as a kid I watched funny movies with my grandparents.

Mylene demongeot

[Bardotsalvador · 10/10 · 17 July 2010]

This movies i mean the three Fantômas were an important part of my childhood back in the late 60s or early 70s, i remember how much fun was to go the movies back then in my little coastal town of Banes in the east part of Cuba with my cousin Manny, and the Fantômas movies were the biggest hit of all, any Cuban over 40 years old will tell you how much they love this movie and because this movies Mylene Demongeot the very beautiful french actress became very popular in the beginning she was another copy of Brigitte Bardot as michele Mercier or Marina Vlady and many others were but as Vlady she became star in her own right, Louis de Funes the most popular of all french actors or comedian in Cuba became an idol back then he was really funny later in my life i discovered he was of Spanish decent and Jean Marais by the time of the Fantômas movies he was at the end of his stardom and i was very surprise when i discover later in my life he was gay and at one point he was the lover of Jean Cocteau, anyway i love the Fantômas movies and forever they will remain part of my life

Culte

[pierreavot · 10/10 · 8 August 2019]

Simplement culte de chez culte. A voir et à revoir

The late beginnings of a great comedian

[semiotechlab-658-95444 · 10/10 · 17 March 2010]

While the English word "actor" and the German word "Schauspieler" (lit. "watch-player", i.e. player for those who watch) are neutral concerning the genre of acting (drama, horror, comedy, etc.), the French word "comédien" means originally the player of a comedy (Comédie Française). In this linguistic difference one may recognize why in France the comedy has a quite different place-value than it has in most other countries where the comedies are for acting about what the desserts are for a meal: welcome but basically unnecessary last delights. While, consistently, comedies in France look back to a very long tradition, the specific film comedies are children of the 50ies, 60ies and 70ies and inseparably connected with names like Fernandel, Bourvil and Louis De Funès, the so-called triumvirate of French Comedy. This is most interesting not only because of its late appearance compared to the long tradition of comical stage-acting, but mostly, because its emergence goes almost hand-in-hand with that of the rather abstract, non-entertaining films of Nouvelle Vague which officially started in 1958. Another reason of interest is that, e.g. in Germany other other surrounding states of France, this is unparalleled: In Germany, e.g. the sixties have been characterized basically by "Lederhosen-" and "Heimat-Films" on the one side and by criminal movies à la Edgar Wallace and its imitations, but not by a specific form of comedy. The year 1964, in which the first of the three "Fantômas"-movies appeared (the others followed in 1965 and 1967), was the same year when the first of the six "Gendarm De Saint-Tropez" movies were shown. If one compares these two movies with the later pictures De Funès did, one can easily see that he was not yet allowed to give that typical kind of performance which made him famous. De Funès, who had been already a famous stage actor for decades and also had appeared in dozens of smaller film roles, had to become 50 years old before someone detected that his comical talent would attract the masses in France. However, it took some more years before his attraction was detected even outside of France. So, in the early 70ies, one got to see in the cinemas of the German-speaking middle Europe up to 4 different De Funès movies per year that could even stand the concurrence of the Spaghetti Westerns which reached their high popularity in the same time. Probably because he knew of his weak heart, De Funès worked like a candle that burns from both sides at once, he would not even stopped after the first of a series of severe heart-attacks. Only in his last two or three movies, when he was not allowed to make more than one picture per year, he become quieter, approximately so as we see him in the three Fantômas movies, but still exciting for everybody not familiar with him.

Action? Comedy ?

[sb-47-608737 · 4/10 · 1 January 2019]

While making a movie, the maker has to decide on whether to make it an action movie or comedy. Unless a fine balance is made, it becomes as ridiculous as this. To compound the fact, translating comic sketches into screen is difficult, things that one won't find impractical in the comics becomes ridiculous on screen. The ubiquitous Police Commissioner - who loves being on TV screen - how could people fail to recognise him, when he (or Fantomas in his mask), robbed repeatedly, deliberately showing his face to witnesses ? The lengthy sketch by the police artists based on description of witnesses was as farce as the movie plot itself. Had this been really comedy, that would have been acceptable, but it was more of an action movie, with a bit of comedy, especially by the Master Funes thrown in. Even more ridiculous were the brake-compromised car - how could it run backwards ? Or the final chasing - A man gets down of a disconnected train, runs off to a petrol station to 'kidnap' a car and then drives for some distance to pick-up his colleague (which indicates he must have traveled a few kilometers to the petrol station), and then manages to overtake the train, which by any practical purposes must have gained more than half an hour. The whole movie is full of these plot-holes, larger than pot-holes. Not even Funes can save this. This could have been somewhat OK in infancy of movies say 'Hazard of Helen' or 'Perils of Pauline' Shorts of the early silent period, but not in mid sixties.

Very entertaining!

[RodrigAndrisan · 10/10 · 8 May 2021]

Still exciting after 57 years after its completion. André Hunebelle was a good craftsman, who has also made many other very successful films. All the actors are great, especially the trio Mylène Demongeot, Jean Marais, Louis de Funès. And the best, without question, is the great comedian Louis de Funès. I've seen this movie many times, like the next two in the series, I grew up with them, I love them! This one is actually a remake of "Fantômas" (1947), directed by Jean Sacha with a very young Simone Signoret.

A very well made french comedy

[mosadiq_atifmal · 8/10 · 25 June 2020]

It has been a long time since i have watched this film , I have been looking for this film for a while so imagine my surprise when i found this title as a part of Kino Lorber collection . The best thing about this set was that it included all three of the films . Yes it is a part of a trilogy for those who are not familiar with this title . The film is heavily inspired and spooks in a way the james bond villains . It is not the greatest story but the comedy in the movie makes it stand out.I would highly recommend this title for it has all the ingredients of a entertaining movie . Luis de funes makes this movie timeless and it still as entertaining as it was when i watched it for the first time . Highly recommend that you buy this set which could be found in target , amazon even ebay .

Criminal Master Mind (?)

[kosmasp · 8/10 · 1 July 2022]

You may have heard of him, or maybe you haven't. You may have seen Luis De Funes before or maybe you haven't. But seeing him (the latter) chase the other (the former who also is the latter at some point .... no pun intended and you'll understand when you see the movie) is quite the sight to be seen.

Quite a lot of stunts for a movie from the 60s and also done practically too. You have to have a soft spot for the way they did things back then though. Not to mention the humor. I really love Luis, but I also got really used to his German voice I grew familiar with (no pun intended, because literally I grew up with his movies) ... so it was weird hearing him speak French. Still the movies do work and I wonder why they only did two sequels to this. Maybe they weren't that succesful at the time? I could look that up, but I'll just enjoy the ones they did and will not mind the rest.

An absolute travesty.

[brogmiller · 2/10 · 1 September 2020]

This is a far cry from the original concept of Allain and Souvestre and has been reduced to nothing more than one of those infernal James Bond spin-offs that cluttered up sixties cinema as well as being yet another of the worthless remakes that Jean Marais made with director(I use the term loosely) André Hunebelle.

It is utterly devoid of suspense and momentum whilst the so-called 'comedic' element supplied by the police inspector of hammy Louis de Funés is utterly infantile. Marais was apparently advised to do the film by his mentor Jean Cocteau and had not Cocteau passed away before the film's release he would no doubt have been obliged to offer Marais his deepest apologies. Lovely Mylene Demongeot deserves better although this is so typical of the mediocre material she was offered from the 1960's onwards.

This ineffably naff and feeble opus is generally considered to be the best of Hunebelle's Fantomas trilogy. If that is the case I dread to think what the others are like and have not the least desire to find out.

In preference to Hunebelle's abomination this viewer would highly recommend Louis Feuillade's stylish pentalogy from 1913-14 which has been beautifully restored by the Cinématheque Francaise.

30/03/2023. Farewell Mlle Demongeot. May flights of angels sing thee to thy rest.

Humorous

[denmez27 · 9/10 · 27 December 2021]

A virtuous movie which reminded me of many action, thriller movies made nowadays. The film definitely stands out of many others (in that time) by having an "invincible" protagonist.