Stoutor
It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.
Billie Morin
This movie feels like it was made purely to piss off people who want good shows
Paynbob
It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.
kevin olzak
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").
bkoganbing
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.
Ron Oliver
The inevitability of Fate and the mysterious movements of Destiny control our FLESH AND FANTASY.Director Julien Duvivier, in a follow-up to his previous TALES OF MANHATTAN (1942), crafted this new & intriguing sequential film. The emphasis, this time, is on the supernatural and precognition. In spite of the film's homilies about the ultimate power of personal responsibility, the movie is in reality about nothing more than providing some suspenseful entertainment for its audience.The three sequences are tied together by Robert Benchley, in his famous character of Doakes, who is shown the stories in a book at his men's club in an attempt to help him get over a case of the jitters.SEQUENCE ONE A bitter, unattractive seamstress (Betty Field) hopes a Mardi Gras mask will help her attract the affections of a young student (Robert Cummings). Edgar Barrier appears as the mysterious mask maker. Movie mavens will spot Marjorie Lord as a desperate client and Peter Lawford as an inquisitive Pierrot, both unbilled.The most intriguing moments in this sequence happens in the first few seconds, when demons are shown pulling a corpse out of the water, and in the last few, when the viewer sees what is in the mask shop window. Mr. Barrier's voice, honed by years of stage and radio experience, is put to good effect.SEQUENCE TWO A London lawyer (Edward G. Robinson) is told by a celebrated palmist (Thomas Mitchell) that he will commit a murder. Anna Lee appears as Robinson's fiancée; Dame May Whitty as her gossipy godmother. Wonderful Sir C. Aubrey Smith makes the most of his short role as a saintly cleric. Doris Lloyd plays a grieved widow, and Ian Wolfe a librarian, both uncredited.Based on a short story by Oscar Wilde, this is the film's most compelling episode. The acting is especially good, with Robinson topnotch and Mitchell turning in a canny performance. The special effects, in which Robinson discourses with his own reflection, are executed very nicely. Notice the mistake in the credits when they refer to Sir C. Aubrey Smith's character as the Dean of Chichester rather than the Dean of Norwalk.SEQUENCE THREE A circus aerialist (Charles Boyer) has a frightening dream in which he sees a beautiful woman (Barbara Stanwyck)-- and then he meets her. Charles Winninger plays the concerned owner of the circus. Clarence Muse appears unbilled as Boyer's attendant.The story is slightly silly, but the stars make a fine effort and the high wire scenes, using a double, are indeed suspenseful.
telegonus
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.
