Les Abysses (Nikos Papatakis, 1963)

Francine Bergé and Colette Bergé in Les Abysses

Cast: Francine Bergé, Colette Bergé, Pascale de Boysson, Colette Régis, Paul Bonifas, Jean-Louis Le Goff, Lise Daubigny, Robert Benoit, Marcel Roche. Screenplay: Jean Vauthier, Louis Jouvet. Cinematography: Jean-Michel Boussaguet. Film editing: Edwidge Bernard, Denise de Casabianca, Pascale Laverrière. Music: Pierre Barbaud. 

Nikos Papatakis's raw, unsparing Les Abysses is one of the many films, plays, and even operas inspired by the case of the Papin sisters, Christine and Léa, who in 1933 murdered their employer's wife and daughter. The most distinguished of the artistic treatments of the case are probably Jean Genet's 1947 play The Maids and Claude Chabrol's 1995 film La Cérémonie, but Papatakis's version stands up well against them. It opens with the mad antics of the two maids, called Michelle (Francine Bergé) and Marie-Louise (Colette Bergé) in this version of the story. They have been left alone in the country house of their employers and have spent the time wreaking havoc in the property. The employers, the Lapeyres, have been taking advantage of the two women, withholding their wages for three years but promising them that they will be given part of the property as recompense. Now the Lapeyres return unexpectedly to discover the house, which they are planning to sell, in chaos. When Michelle and Marie-Louise discover they're about to be cheated out of their expectations, things escalate. The film was widely interpreted as a fable about capitalism and the class system as well as a kind of allegory of the exploitation of colonial Algeria by France. It's a mad, brutal work with uninhibited performances by the Bergé sisters, and a nerve-racking score by Pierre Barbaud adds to the dissonance of the relationships shown in it. 

Judex (Georges Franju, 1963)

Michel Vitold and Channing Pollock in Judex

Judex/Vallières: Channing Pollock
Diana Monti/Marie Verdier: Francine Bergé
Jacqueline Favraux: Edith Scob
Favraux: Michel Vitold
Alfred Concantin: Jacques Jouanneau
Morales: Théo Sarapo
Daisy: Sylva Koscina

Director: Georges Franju
Screenplay: Jacques Champreux, Francis Lacassin
Based on a screenplay by Arthur Bernède and Louis Feuillade
Cinematography: Marcel Fradetal
Art direction: Robert Giordani
Music: Maurice Jarre

Judex is, like Steven Spielberg's Raiders of the Lost Ark (1981) and the subsequent Indiana Jones sequels, an hommage more than a spoof. In both cases, the filmmakers were affectionately mimicking films of their youth: the cliff-hanging serials that often accompanied feature films. Unlike Spielberg, director Georges Franju had a particular director in mind: Louis Feuillade, who crafted adventure thrillers usually involving master criminals like the titular protagonist of Fantômas (1913) and the sinister Irma Vep of Les Vampires (1915-16). The original Judex serial of 1916 featured a masked crime-fighter, a figure that became increasingly popular after Douglas Fairbanks adapted a magazine story in The Mark of Zorro (Fred Niblo, 1920), leading to numerous comic books and movies about swashbucklers and superheroes using disguises to protect their secret identity. The archetype became so prevalent that eventually it was subject to amused mockery, as in the camped-up Batman TV series of 1966-68. But Franju isn't out to mock Feuillade's serials so much as to recapture some of the innocent thrills of the original, with sets and costumes evoking a pre-World War I naïveté. Judex is a do-gooder who in the film is trying to expose the fraud and murder committed by a wealthy banker, Favraux. He has somehow disguised himself (with an obvious fake beard) as Favraux's secretary, Vallières -- the film never bothers with backstories of its characters, so we don't know how Judex/Vallières gained Favraux's confidence and trust -- and manages to fake Favraux's death and hide him away in an elaborate dungeon, where he watches Favraux via an improbably early version of television. But Judex's plans -- which are not entirely clear in any case -- are complicated by his adversary, Diana Monti, who has herself been operating as the governess for Favraux's granddaughter. And so on, through an increasingly intricate series of plot twists, clashes, escapes, last-minute rescues, and all of the trappings of the genre. It's really a good deal of fun, though it occasionally goes a little slack, especially if you're not in the mood for it. Marcel Fradetel's black-and-white cinematography mimics the silent-movie style to the mark, even using old-fashion iris shots for transition, and at one point having the comic-relief detective, Cocantin, peer through the keyhole, with what he witnesses viewed through a keyhole-shaped aperture. Judex is played by an American magician, Channing Pollock, who performs some sleight-of-hand involving doves. A very handsome presence but no actor, Pollock was hyped as a new Rudolph Valentino, but without success.