Plot
In the tradition of his earlier Carnival in Flanders and Tales of Manhattan, director Julien Duvivier's Flesh and Fantasy is a "pormanteau" film, consisting of several short stories. Linking the three tales unfolded herein are clubmen Doakes (Robert Benchley) and Davis (David Hoffman), who carry on a spirited debate about Destiny. In the first story, homely Henrietta (Betty Field) is made beautiful through the love of handsome Mardi Gras reveller Michael (Robert Cummings)-and the help of an enigmatic mask-maker (Edgar Barrier). The second story, based on Oscar Wilde's "Lord Arthur Saville's Crime", concerns a fortune teller named Septimus Podgers (Thomas Mitchell) who predicts that socialite Marshall Tyler (Edward G. Robinson) will commit a murder. In the final tale, psychic high wire artist Paul Gaspar (Charles Boyer) dreams that he will meet his doom during the performance of his act-and then falls in love with Joan Stanley (Barbara Stanwyck), who looks exactly like the girl who appeared in that dream. A fourth story, detailing the doomed romance between a fugitive from justice (Alan Curtis) and a blind girl (Gloria Jean), was cut from Flesh and Fantasy, then expanded and released separately as Destiny (1944). ~ Hal Erickson, RoviReview
For the most part, anthology films such as Flesh and Fantasy are rarely as satisfying as one desires. Rare is the "omnibus" that is strong throughout. More often, they are like Fantasy, which has one very strong sequence, one that works well enough and one that disappoints. The disappointing one is the opening entry about a plain girl who desires a handsome man and which is fairly uninspired and predictable, despite game performances from Betty Field and Robert Cummings. The final segment, involving Charles Boyer as a high-wire artist, is a perfectly agreeable little film. It's not exceptional, but it holds the interest, keeps one guessing a bit, and resolves itself neatly. Boyer is in good form, and Barbara Stanwyck, practically incapable of a bad performance, adds to the sequence's success. The middle part, based on a famous Oscar Wilde story, is the best. Wilde's story is ripe for the screen, and director Julien Duvivier makes the most of the opportunities it presents, especially in a sequence in which Edward G. Robinson argues with himself over what he is to do. The script is taut but atmospheric, and even those familiar with the story will be entertained. Robinson is an old hand at playing conflicted men and at bringing out both the best and the worst in his characters and so is very much in his element here. Beyond the three main stories, there is also an obligatory framing sequence, which works well enough. Fantasy also benefits from excellent camerawork, courtesy of Stanley Cortez and Paul Ivano, and a handsome production design, as well as a very fine supporting cast that includes Dame May Whitty and Thomas Mitchell. When all its parts are added up, Fantasy comes out as a good, if uneven, little diversion. ~ Craig Butler, RoviCast
- Edward G. Robinson - Marshall Tyler
- Charles Boyer - Paul Gaspar
- Barbara Stanwyck - Joan Stanley
- Betty Field - Henrietta
- Robert Cummings - Michael
Credit
Robert F. Boyle - Art Director, John B. Goodman - Art Director, Richard H. Riedel - Art Director, Edith Head - Costume Designer, Vera West - Costume Designer, Julien Duvivier - Director, Arthur D. Hilton - Editor, Alexander Tansman - Composer (Music Score), Charles Previn - Musical Direction/Supervision, Stanley Cortez - Cinematographer, Paul Ivano - Cinematographer, Charles Boyer - Producer, Julien Duvivier - Producer, Russell A. Gausman - Set Designer, Edward Ray Robinson - Set Designer, Laszlo Vadnay - Screen Story, Ellis St. Joseph - Screen Story, Samuel Hoffenstein - Screenwriter, Ernest Pascal - Screenwriter, Ellis St. Joseph - Screenwriter, Oscar Wilde - Book Author, Oscar Wilde - Short Story Author| Flesh and Desire (1954 Film), Flesh and Bone (1993 Film) | |
| Flesh and Fire (1985 Film), Flesh and Fury (1952 Film) |
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