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Low-key lighting and the strong contrast between the black and white create an eerie tone to the mansion at night. He says he is afraid and acknowledges that he has done wrong, but I had to wonder: is he terrified for Christiane, or is he more fearful that his expertise will fail again? I believe that until he has fixed Christiane, his guilt will not subside, and that’s why he is so overbearing when it comes to the surgeries.
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Genessier more frustrated and Christiane more dismayed. Every time they tried, her body started to reject the skin, leaving Dr.
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She hasn’t had just the one skin graft, but several. It’s almost like Christiane has become just another one of his experiments. Génessier, roams freely except for the weight of his massive guilt. She treats Christiane, played by Edith Scob, with compassion and seems to replace the family’s missing mother figure, but there are no signs of romantic interest from Dr.
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As the movie progresses, it’s clear Louise has been with the Génessier’s for a long time. Louise had skin grafting done on her own body and covers the scar with a chunky pearl necklace, which explains her loyalty to him – a commitment that includes dumping the test subjects’ bodies. We come to find out she is the assistant of Dr. Her outfit is made of nice clothing, and she is blatantly scared while committing the act. Plus, Louise doesn’t look like the type of woman involved in such heinous acts. We have no idea who the body is and why Louise is dragging it to the river to dispose of it. I like that the film started with such a strong hook. Similar music is played later when Louise is tricking a girl into coming to the mansion to become a new test subject, making it feel like her theme song. The music almost reminds me of the same music played in Wizard of Oz when Dorothy see’s the Wicked Witch in the tornado – it’s very menacing. Their face is deformed, but we don’t see enough of it to tell what happened to the body, assuming they are dead or knocked out cold. As shocking as it was for audiences, it was no new feat for Franju, who consistently made films that questioned physical morality.Īt the beginning of the film a woman named Louise, played by Alida Valli, is driving a car with someone in the back seat. It is not for the faint of heart, but is tame compared to a Tarantino film. I am not one for blood and guts and certainly not one for the skinning of a human being. When it was first shown at the Edinburgh Film Festival, some audience members had to leave because of the graphic surgery scenes, and I myself had to cover my eyes when those scenes played.
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Franju pushes the thriller genre boundaries by intertwining love, peace, and guilt into one twisted story about parental love.Įyes Without a Face is a fictional film shot in black and white. Without regard to her wishes, he desperately tries to find a new face for her, even if it means murder. Luckily for her, he’s a surgeon and won’t stop until his daughter’s face returns to normal. The car crash was all thanks to her father, who was driving that night. A father would cross to the ends of the earth if it meant his daughter could be happy, but what if it is not love driving him, but instead guilt? In a 1960 thriller based on the novel, Les Yeux Sans visage, or Eyes Without a Face, d irector Georges Franju visually displays the unsettling story about a girl who must wear a mask that covers everything but her eyes due to her face being disfigured from a car crash.