“It’s pretty, but a bit difficult to understand.”
“Nothing is strange in this strange house.”
“Among all these corpses, you’re the least disgusting.”
Directed by Harry Kümel. Screenplay by Jean Ferry. Based on the novel by Jean Ray.
What kind of horror movie is it? Artsy euro-horror.
Jan (Matthieu Carriere), a sailor, is returning home on shore leave after a lengthy absence at sea. While his comrades have more interest in booze and whores, Jan seeks his old home in Beacon Quay, only to find that it has been demolished and that “no one had lived there for years.”
Jan is distraught at having lost touch with his beautiful sister Nancy (Susan Hampshire) and refuses to believe this news. Later, his jaw drops as he spots a woman who looks just like Nancy. He follows her to a lively brothel. When it turns out to be a case of mistaken identity, Jan seems more torn up about missing his sister than the possibility of her being a prostitute.
Little does Jan realize that his every move since disembarking from his ship has been watched by two bickering stooges who wouldn’t look out of place in Disney’s Apple Dumpling Gang. These goofs are Charles Dideloo (Michel Bouquet) and Matthias Crook (Daniel Pilon), Jan’s uncle and soon to be brother-in-law, respectively.
The mischievous Charles arranges to have Jan beaten and dragged back to the mysterious house of Malpertuis where he finds his sister and much of his family residing along with the house’s many servants. They’re all living in fear of the massive, bellowing genius, Quentin Cassavius (Orson Welles!)
Yes, kids, Orson Welles is in this horror movie.
Many knew of Welles in his later period as being a notorious drunk. I won’t comment on this, except to present you with Welles’ first scene from the movie to judge for yourselves…
MWAH, the French!
I’m kidding, of course. That was an outtake from a wine commercial, which is exactly the kind of works Welles was reduced to appearing in later in life. And yeah, Welles does appear to be drunk during the film, but it doesn’t hinder his performance as the ailing Malpertuis patriarch, even if it is a bit sad to watch.
Malpertuis is not your every day horror film, but it is a sight to behold. According to the imdb, director Harold Kümel had wanted to make the film for years, but could only do so when his early 70s classic Les Levres Rouge became a success. Like last year’s Blogowe’en Hausu, Malpertuis certainly takes a while to get going, and one must be patient to enjoy its grand finale. Though the first murder occurs an hour and twenty-minutes into this near two-hour movie*, there’s such a menacing atmosphere and such a sense of menace throughout that it becomes quite an intoxicating experience.
While I can’t speak much about the plot, which really only develops when residents of Malpertuis start biting the dust, the film is ultimately more a triumph of style and performance than story. The film is full of shadow and lush blues and reds and the cast deliver manic and off-the-wall performances with aplomb. Of particular note are Susan Hampshire and Michel Bouquet. Hampshire succeeds in creating different personas for several crucial roles she will play in the film. Her restraint, and the emotional depth she paints for each of her characters (to point them out would spoil it), is astonishing to watch. By contrast, Michel Fouquet is a great ham. Watching the weaselly, conniving, penny-pinching Dideloo, who looks like Donald Pleasence after he failed a Doctor Who audition, is a delight. He plays the film with such a snivelling, over-the-top incompetence that most actors wouldn’t dare risk humiliating themselves in playing. The scene where he pushes down a crippled boy while running down the street and giggling like a gremlin is something to behold
Malpertuis is an unusual horror picture, but its dark fantasy is one that begs to be discovered by cinephiles.
*At least, the director’s cut is two-hours. Apparently a recut version received wider release, emphasizing Malpertuis’ horror aspects, much to its director’s chagrin.
Availability: A bit of a rareity, this one. The uncut, subtitled DVD and the cut, dubbed VHS are out-of-print.
October 10th, 2009 at 5:27 pm
If you have seen this Belgian gem and found its weirdness every bit as intoxicating as I did, you’ll really enjoy the Obscure Cities comics by Francois Schuiten and Benoit Peeters. Malpertuis really reminded me of their haunting comic, The Walls Of Samaris.
Report this comment
October 11th, 2009 at 6:28 pm
This film is so full, it seems like it’s going to burst.
There are so many great scenes/performances, I don’t know where to start.
Orson Welles radiates power and malice in his scenes. It’s easy to believe that even bedridden, Cassavius is in complete control of every aspect of his household.
This movie is like Onibaba, in that it’s a powerful portrait of human failings, and the violence that they breed.
If you have a little patience, this film is full of rewards.
I also have it on good authority that the directors other horror film, Daughters of Darkness is a sensual masterpiece in its own right.
Report this comment
October 12th, 2009 at 12:05 am
Patience is indeed a virtue for certain gems of the horror genre (Takashi Miike’s Audition immediately leaps to mind, in addition to this and Onibaba), but who could be bored with so much atmosphere and intrigue?
The character of Cassavius is so fascinating and very appropriate for Welles at this particular time in his life. With the amazing discovery he made on the island (revealed at the end of the film), all he can think to do is imprison said island’s residents even though their power and majesty had abandoned them. They were all so pathetic that you couldn’t help but wonder more about them. I’m very eager to read the novel for that reason.
Report this comment
October 13th, 2009 at 2:03 am
I ended up wanting to read the book as well.
Report this comment