Flesh and Fantasy

"Flesh and Fantasy" is an astonishing anthology film centered around the themes of destiny and free will. Given its high quality and status as a 1940s Universal production dealing in the supernatural, it beggars belief that it has gone largely unsung over the years. The closest comparison I can think of is "Dead of Night", another great anthology that would come a few years later. The tone here is more literary and sophisticated, with each chapter bookended by comic segments featuring Robert Benchley of the Algonquin Round Table. I was moved and utterly gripped by all three chapters. The cast is among the best assembled for a 1940s film, with Betty Field, Edward G. Robinson and Charles Boyer standing out for their compelling performances. No less than Dame Mae Whitty and C. Aubrey Smith are along to provide strong support. The Robinson segment employs some striking visual effects that supplement Robinson's superb acting, resulting in an almost hysterical intensity at times. The Boyer circus chapter will particularly appeal to those who loved "Nightmare Alley": it shares the common question of man's ability to change his fate with that great movie. I absolutely loved this picture and plan to revisit it again and again over the years.

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Trailer—Flesh and Fantasy

source: Flesh and Fantasy

An intriguing movie, more for what it could have been rather than for what it is. "Flesh and Fantasy" is made up of three loosely connected segments – from stories by three different authors. They unfold as tales of the supernatural told by Davis (David Hoffman) to 'humourist' Robert Benchley in a series of linking sequences. The first story is set in New Orleans during Mardi Gras. A plain young woman, Henrietta (Betty Field) receives a beautiful white mask from a stranger. After she attracts a young man, Michael (Robert Cummings), she performs an unselfish act, revealing her inner beauty to him without the aid of the mask. This sequence has a dreamlike quality – the artificiality of the studio sets actually gives it a sense of otherworldliness. The second segment takes place in a moody night-time London. When Marshall Tyler (Edward G Robinson) is told by clairvoyant (Thomas Mitchell) that he will murder someone, he becomes so anxious waiting for it to happen that he attempts to kill two people at random before confronting the clairvoyant again. The third segment has the least connection to the supernatural. A high wire artist, Paul Gaspar (Charles Boyer), loses his nerve performing a dangerous feat, When he dreams about a strange woman (Barbara Stanwyck) with distinctive earrings, he meets her on board a ship bound for New York. He falls in love and his confidence returns, but an unexpected problem separates them again. Although the three segments have a definite style, the whole thing is let down by the linking sequences starring Robert Benchley. These seem totally out of character with the carefully crafted stories directed by Julien Duvivier. It's almost as though they are by another hand altogether. They actually make light of the segments we have just seen, and Benchley's brand of humour hasn't really travelled all that well over the decades. When I sought more information about the movie, I found that a fourth segment – much darker in tone – had been filmed, but apparently the studio scrapped it and then added the Benchley touch. Each segment was designed to flow into the next, and although Duvivier turned the deleted segment into another film called "Destiny", "Flesh and Fantasy" would have had an entirely different mood. Back in the day, studios seemed to feel that films with a supernatural theme needed a lot of explaining, and anthology films often had linking sequences. It was almost as though they didn't think audiences would understand a film that was too abstract. So Duvivier's intriguing, moody film got hit with the mundane stick. The result is still interesting, and the opportunity has long gone for the film to be restored to the original vision, but it's an intriguing thought nonetheless.

Anthology film from Universal with three stories of the bizarre, as told through a framing story with David Hoffman and Robert Benchley. The first story is about a plain-looking woman (Betty Field) who wears a mask on Mardi Gras that is supposed to make her appear attractive to the man she loves (Robert Cummings). A beautifully photographed story with a somewhat flimsy premise. Good acting by Field and Cummings. The second story is about a fortune teller (Thomas Mitchell) who tells Marshal Tyler (Edward G. Robinson) that he will murder someone. Tyler becomes obsessed with the prediction which leads to a fairly predictable ending. Robinson is excellent as always. The third story is about a circus high-wire artist (Charles Boyer) who has premonitions about falling that involve a woman (Barbara Stanwyck). This is the weakest of the three stories. A fourth story was originally part of the film but Universal removed it. The following year they had a new screenwriter and director do additional material to add to the story, including a new happier ending. They released this as the movie "Destiny." Overall, not a bad movie but not a great one. Certainly it looks good. Director Julien Duvivier creates an ethereal atmosphere throughout.

And director Julien Duvivier. In the framing story, a nervous man (Robert Benchley) at a private club is told or reads through a series of tales meant to ease his discomfort. In the first tale, a homely woman (Betty Field) wears a magical mask during Mardi Gras to attract her long-sought lover (Robert Cummings). In the second tale, a man (Edward G. Robinson) has his fortune told by a palm reader (Thomas Mitchell), but he doesn't like what he hears. And in the third tale, a high-wire circus acrobat (Charles Boyer) has reoccurring dreams about a mysterious woman (Barbara Stanwyck) and his own demise. Also featuring Dame May Whitty, C. Aubrey Smith, Charles Winninger, Anna Lee, Edgar Barrier, David Hoffman, Eddie Acuff, Marjorie Lord, Peter Lawford, Ian Wolfe, Hank Worden, and Clarence Muse. French director Duvivier worked in the U. S. during much of the war years. He had a hit in '42 with another anthology film, Tales of Manhattan over at Fox, so this follow-up seemed like a sure bet. He co-produced it with Boyer, which is ironic since the weakest segment to my mind was the last one which featured Boyer. The first segment had loads of atmosphere, and one can see how the blank mask worn by Field inspired the later Euro-horror classic Eyes Without a Face. The second segment, featuring Robinson and Mitchell, is the most like an episode of The Twilight Zone, and it also has excellent camerawork. The last segment isn't bad, but it seems to be the least inspired, and suffers a bit from dated effects work during the many high-wire scenes. An interesting story concerns the original version of the film, which did not have the humorous framing story featuring Robert Benchley. Rather it began with another tale, this one focusing on a fugitive murderer (Alan Curtis) who runs into a farmer (Frank Craven) and his blind daughter (Gloria Jean). This segment ended with the killer dead and floating down a river. Preview audiences loved it, but for some reason it was removed from the film and the new framing device added. However, each story bleeds into the next, so even in the released version, the story with Field and Cummings begins with Mardi Gras celebrants finding the dead body of the killer from the deleted story in the river. Universal later used the removed footage, padding out the running time and changing the ending, ultimately releasing it as Destiny in 1944.

Great fun for fans of those slightly off-kilter, dark 40's films which center around a strange and mysterious theme. In this case it's a man's obsession with dreams that are destined to come true. Features a trio of stories, and the best comes last. (plus an all-star cast!) A sister film to Three Strangers (1946).

Although not as good as Tales Of Manhattan where some of the anthology episodes leaned toward comedy, Flesh And Fantasy is like three Twilight Zone episodes strung together. Three fair to middle episodes of that show. By far the best is Edward G. Robinson, a rather self assured gentleman who doesn't believe in any of this supernatural bunk. At a party he gets his palm read by spiritualist Thomas Mitchell who says that his future shows he will commit an act of murder. As the prediction takes over and he gives way to it, his decision than is who to murder that might do him and the world the most good. The other two are all right and both lean toward romance. Plain girl Betty Field gets a mask of beauty to bolster her self esteem as she meets up with Bob Cummings on Mardi Gras night. A mysterious stranger played by Edgar Barrier in a beard makes it happen for them, but in a most unusual way. Charles Boyer and Barbara Stanwyck star in the third episode where Boyer is bothered by a persistent dream of falling from the high wire where he does his circus act. He's got an unusual twist in his routine, he plays a man pretending to be drunk on the high wire and his planned stumbling moves make it all the more dangerous. In the dream he meets Barbara Stanwyck who is in the audience. Later on they meet and fall in love. But it ends for them in another unusual way and in fact it might not be the end. Club members Robert Benchley and David Hoffman read these stories and discuss the supernatural in between stories. Their parts truly could have been dispensed with. Not the best anthology movie, but all right and the players acquit themselves well, stars and supporters.

1943's "Flesh and Fantasy" is included in the Brunas-Brunas-Weaver book UNIVERSAL HORRORS, and as such gained a distinction it probably never wanted. Unusual for the studio, it's an anthology film comprised of three tales about personal responsibility and shaping one's fate, with slight supernatural overtones. Like 1945's "Dead of Night" and its Amicus offspring, we have a framing story, the delightful Robert Benchley playing off against David Hoffman (the face announcing the 'Inner Sanctum' series). Story one stars Betty Field as a plain-looking woman whose belief in her own unattractiveness has left her lonely and bitter; a chance encounter with a bearded stranger (Edgar Barrier) offers her a mask to disguise her ugliness from the man she's loved from afar, who now recognizes her beauty during an evening of Mardi Gras. This seems a bit overlong even at a mere 27 minutes, but the second story breezes by quickly, top billing Edward G. Robinson as wealthy attorney Marshall Tyler, whose belief in an eccentric palmist (Thomas Mitchell) nets him the woman of his dreams, but an ominous future in discord. Only when pressed further does the prognosticator confess that Tyler is going to kill someone; he becomes so obsessed with who his victim should be that he neglects his beautiful bride-to-be (Anna Lee) and comes to a bad end. Story three pairs Charles Boyer and Barbara Stanwyck, but its drawn out shipboard romance is a letdown coming after the best segment. What was intended to be the first tale in a four-part anthology was excised and reshaped into a 64 minute feature, 1944's "Destiny," which may have been the most dazzling of all; judge for yourself. Unbilled bits come from Peter Lawford, Marjorie Lord, Jacqueline Dalya, Doris Lloyd, Ian Wolfe, Clarence Muse, and Grace McDonald (who played a different character in "Destiny").