Flesh And Fantasy (1943) Anthology Noir from the Twilight Zone

I've stumbled on a few of these recently and they jogged my memory of a few others. 

The obvious one to Noir Aficio-Noir-dos and Noir-istas is Classic Hollywood Noir Down Three Dark Streets directed by Arnold Laven. The "Three Dark Streets" are euphemisms for the individual cases that FBI agent Ripley (Broderick Crawford) and his partner was working on when his partner gets shot down by an unknown assailant. The murder is the connecting factor to one of the cases but the question to answer is which one. The entire film is Noir, for some of the other anthology films only one or two segments may be Noir.

Souvenirs perdus (1950) directed by Christian-Jaque is another anthology film that has as it's framing feature articles left in the Paris Lost & Found each article is linked to a story. For example, one is a discarded statue of Osiris that tells the humorous story of two ex lovers who meet again after many years at an Egyptian exhibition. Phillipe is an old con man who works the tourist crowd selling dirty postcards. Florence is toiling as a photographers model. When they meet, Florence is on her break from a museum shoot  modeling evening gown's and expensive jewelry. Phillipe thinks she's now wealthy so he passes himself off as a world famous Egyptologist. Another item is a violin that's connected to Raoul a cop. Raoul has the hots for a widow on his beat. He bought the violin for her daughter and he pays for her violin lessons all in the pretext of getting close to the mother. The Noir segment is Une cravate de fourrure and is one of the darkest Noir's I've seen yet. I'll be reviewing it soon.

O. Henry's Full House (1952) is of course framed by five stories (directed also by five different men) from O. Henry's New York period, only one of which The Last Leaf directed by Jean Negulesco and lensed by Joseph MacDonald tips Noir for me. 

Julien Duvivier notably directed original French Films Noir Pépé le Moko, Panique, Voici le temps des assassins... (Deadlier Than the Male) Sous le ciel de Paris and Chair de poule he directed another earlier anthology film, Un carnet de bal (1937) which is the story of a recently widowed woman who becomes intrigued with seeking out the fates of the partners she danced with at a ball when she was sixteen, her dance card is the framing instrument, some of these tip Noir also.  

In 1938 Duvivier signed a contract with MGM went to Hollywood and made his first American film, a biopic of Johann Strauss, The Great Waltz, at the onset of WWII Duvivier again  left France first for Portugal and then for the US. Sitting out the war he produced and directed several films two of which were anthology films Tails of Manhattan (1942) and Flesh And Fantasy.

Flesh And Fantasy was written by Ellis St. Joseph - (segment "1"), the Oscar Wilde - story "Lord Arthur Saville's Crime" was adapted for (segment "2"), and László Vadnay - story (segment "3"). with additional reworks and contributions by Ernest Pascal, Samuel Hoffenstein and Ellis St. Joseph. 

The film was originally conceived as a framing story with 4 segments. The original segment number 1 ended with a body floating down the Mississippi which is discovered during Mardi Gras at the opening of segment number 2. The whole first segment was removed and extended into an altogether separate film called Destiny starring with Alan Curtis and Gloria Jean, with additional footage directed by Reginald Le Borg. 

Cinematography was by get this, two great cinematographers Stanley Cortez who gave us The Magnificent Ambersons, Secret Beyond the Door..., The Underworld Story, Black Tuesday, Night of the Hunter, The Naked Kiss, and notably Neo Noir Chinatown and Paul Ivano who lensed Black Angel, The Suspect, The Gangster, Pickup. Music was by Alexander Tansman.

The cast in order of appearance 

Library Framing Story - Robert Benchley as Doakes and David Hoffman as Davis.

Segment "1" - Mask Story - Betty Field as Henrietta and Robert Cummings as Michael and Edgar Barrier as the Proprietor of the Mask Shop. Edgar Barrier stranger. This one will remind you a bit of "The Masks" Season 5, Episode 25 of The Twilight Zone with a dash of "Cinderella."

Segment "2" Palm Readers Story - Edward G. Robinson as Marshall Tyler, Thomas Mitchell as Septimus Podgers, C. Aubrey Smith as the Dean of Norwald, Anna Lee as Rowena, May Whitey as Lady Pamela Hardwick. This one reminded me of some of "Nervous Man in a Four Dollar Room" Season 2. Episode 3 of The Twilight Zone. 

Segment "3" The Drunken Man on the tightrope - Circus Story - Charles Boyer as wire walker Paul Gaspar, Barbara Stanwyck as Joan Stanley, Clarence Muse as Jeff, Charles Winninger as King Lamarr. 

The Framing Story

A men's club reading room. Doaks is joined by member Davis. Davis notices that Doaks is uneasy and enquires as to the cause. 

The Reading Room

Robert Benchley as Doakes

David Hoffman as Davis

Doaks explains it has to do with a fortune teller who told him he was going to do something and a vivid dream he had about it the same night. Doaks tells Davis that he doesn't believe in either.

Davis replies that he just read a book in the library last night about the interrelation of dreams and fortune telling with reality. He retrieves said book and we get the first segment of the film. 

Segment "1" - Mask Story. 

New Orleans - Mardi Gras - a body is retrieved out of the Mississippi by revelers in various grotesque costumes, a virtual gaggle of gargoyles.

Nearby Henrietta, in her seamstress's sparse apartment, is refusing to give a Mardi Gras costume dress to a woman who doesn't have the money to pay. 

Henrietta tells her that she can't have it. The woman gets angry calls Henrietta ugly. Henrietta pushes her out the door and then contemplates herself in the mirror. She looks disheveled, bitter, and tired. She hates what she sees and smashes the mirror.

Betty Field as Henrietta

We cut back to the courtyard of the seamstress's apartment house. The revelers with the drowned man's body and more rubberneckers are gathered near a fountain. 

A policeman is also there. Henrietta is seen approaching the crowd. After she gets a look at the dead man, Michael, a young law student that she has been voyeuring (and probably lusting after) through her window, also approaches the body.   

Henrietta speaks to Michael, who answers but barely notices her.

Henrietta with Robert Cummings as Michael 

Despondent, Henrietta walks to the river telling herself that when she sees her hideous reflection in the water she can end it all by jumping into it. 

Just as she is going to act on her impulses a man with a white beard and wearing black coat and fedora man (unidentified in cast listed as Stranger but obviously "Fate") stops her. The sky lights up with fireworks. 

He reads her mind telling her that she'll lose all her chances on getting that young feller if she kills herself. She doesn't believe him. She tells him that she has a curse that she cannot escape.

Fate explains to her that she can still be beautiful, for two hours before the end of Mardi Gras, midnight and he brings her along to a Mardi Gras mask shop. He tells her to take her pick of the shops "beautiful women" masks.

The Mask Shop

She tells him that she wants a soft sweet look that men seem to admire. The man instructs her that love is stronger than any curse. But she must learn what it means, and that is giving without any hope of return. 

It means creating faith and belief in another, that, is the true meaning of love, and the young man will say that you are beautiful. 

She picks a mask and the man assures her that she should take the chance and wear it and learn the truth. He also tells her that she must return the mask to the shop at midnight.

Back at Midnight

He also tells her that to use her chance best she should go the the Cafe Mazarine. So Henrietta wears the mask and the Mardi Gras dress she sews goes to the cafe and meets Michael. She surprises and  enchants him by telling him she understands that he toiling hard and is very lonely. 

I won't go any further with the Segment "1" story. 

It has only one flaw, which is the inauthentically dull Hollywood studios attempt at Mardi Gras music. composed by Alexander Tansman.It doesn't have that magical hypnotic connection that Black Orpheus has with Carnivale. It the fifties New orleans and should have been something a bit more exotic and evocative along the lines of say Professor Longhair's Go To The Mardi Gras..

Segment "2" Palm Readers Story.

Septimus Podgers a palm reader is entertaining a gathering at Lady Pamela Hartwick. 

Thomas Mitchell as Septimus Podgers, palm reader.

He's looking at the palm of Mrs. Carrington, telling her that she has been going through a very dark passage. He sees that she is soon going to the country, and announces that she is going to hear from a person very dear to her. She shakes her head and says there's no one very dear to me any more. Septimus continues telling her that she will hear from her husband. Mrs. Carrington replies that that's impossible, impossible. She rises from the table and flees the room. She passes the hostess Lady Pamela and Marshall Tyler an American guest. 

May Whitey as Lady Pamela Hardwick and Edward G. Robinson as Marshall Tyler

When the Lady Pamela asks what's the matter? Mrs. Carrington replies that Septimus told her that she would hear from Rodger. Marshall inquires if she's speaking about Rodger Carrington, who died on an expedition two years ago. Marshall remarks that she must enjoy upsetting her guests. Once it was a spiritualist, manufacturing ectoplasm, next it was Voodoo.

Next it was Voodoo

Lady Pamela confesses to Rodger that she can't drink, is too old for romance, and the British are beastly dull, so she gives these parties to whip them along.

Marshall at first scoffs at the palmistry, but when Septimus tells him he's a lawyer and a successful one who is head over heels in love with Rowena and she with him. Marshall scoffs and replies he knows that's not true and asks Septimus read more mis-information.  

Meanwhile Lady Pamela runs to find Rowena breaking up with the man she was to marry. So Septimus was indeed right. Then the music on the radio is interrupted by a special bulletin, Rodger Carrington's expedition has been rescued. So Septimus readings were indeed right.

When Septimus continues to read Marshall's palm we see a look of concentration turn to an expression of apprehension. 

Septimus looks up and tells Marshall that he sees nothing but Marshall can read from his expressions that he's lying to him. 

Marshall insists but Septimus begs off telling Marshall he must go, but produces his card and tells Marshall to come see him tomorrow at his address.

Septimus reads Marshall's palm the next day surrounded by his cats and it goes Noirsville when he tells him he sees murder. 

Murder!

Marshall becomes so obsessed with the thought of murder that he decides he must commit one to be rid of that irresistible obsession. How Noir is that?

Segment "3" The Drunken Man on the tightrope - Circus Story. 

The Segment "2" story actually ends where this one begins. A circus is set up along the Thames. The star of the show is a high wire act by the Great Gaspar billed as "The Drunken Gentleman of the Tight Rope." 

Paul Gaspar, "The Great Gaspar" is in his trailer with Jeff, his assistant / propman / butter. Jeff reminds Paul that he's going on soon. They get interrupted by the ending of Segment "2" Which ties them together in a Twilight Zone-ish way. 

Back in the trailer we see Jess asking about the incident and Paul discounting any importance. 

Paul sitting in his chair falls asleep and has a strange dream where he's under the big top, doing his highwire act. His schtick is a wobbly drunk who is lured back and forth between the two beautiful women (who are a part of the act) who stand on two platforms at opposite ends of the wire.

The women lure him from their respective platforms with come hither looks and the oferes of another drink. He wobbles on the wire back and forth like a tipsy drunk.

In his dream, he loses his balance and falls. As he falls he sees the crowd, singles out a woman who screams and the zooms in on the small glittering lyre earrings she is wearing. 

Barbara Stanwyck as Joan Stanley

Paul wakes up with a start. Jeff asks what's wrong, Paul answers it was about a woman, and then Jeff makes a joke about his dream about a woman. Seems he kept having this dream that his wife left him, but every time he woke up she was still there. 

Clarence Muse as Jeff and Charles Boyer as Paul Gasper

Anyway when the time comes for Paul to do his act he tells King Lamarr just as he's about to go out that he had a dream that he fell. King tells him he doesn't have to do it. Paul tells him not to worry but at the big finale where Paul jumps from a wire 75 ft. to one 10 ft. lower. He can't do it, He couldn't see the other wire he tells King, and it was all he could to get back to the platform.  

Charles Winninger as King Lamarr rt.

The Circus is traveling to the US and during the voyage across the Atlantic Paul meets the woman wearing the lyre earrings from his dream who screamed in the audience.

Noirsville

This is one of those films where, in well known Hollywood fashion, the studio screwed around with the final cut, it removed the first segment, extended it with additional scenes by Reginald Le Borg a different director, and George Robinson a different cinematographer. It was released as Destiny. Hey two films outa one. 

It would be interesting to see Destiny and try a figure out the original story in the first segment it would be interesting to see if we can be able to identify the originals by their cinematography. 

The stars aside from Robinson and Stanwyck, are second tier Hollywood Noir stars Betty Field, Charles Boyer and one who became an early TV star Robert Cummings. 

As is its a solid 7.5/10.