Eyes Without a Face

1960 [FRENCH]

Action / Drama / Horror

37
Rotten Tomatoes Critics - Certified Fresh 97% · 60 reviews
Rotten Tomatoes Audience - Upright 87% · 5K ratings
IMDb Rating 7.6/10 10 37419 37.4K

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Plot summary

Dr. Génessier is riddled with guilt after an accident that he caused disfigures the face of his daughter, the once beautiful Christiane, who outsiders believe is dead. Dr. Génessier, along with accomplice and laboratory assistant Louise, kidnaps young women and brings them to the Génessier mansion. After rendering his victims unconscious, Dr. Génessier removes their faces and attempts to graft them on to Christiane's.

Director

Top cast

Alida Valli as Louise
François Guérin as Le docteur Jacques Vernon
Charles Bayard as Un homme à la conférence
Gabrielle Doulcet as Une admiratrice du docteur Génessier
720p.BLU 1080p.BLU
829.72 MB
1280*772
French 2.0
NR
23.976 fps
1 hr 30 min
Seeds 5
1.5 GB
1776*1072
French 2.0
NR
23.976 fps
1 hr 30 min
Seeds 33

Movie Reviews

Reviewed by rooprect 8 / 10

You'll never listen to Billy Idol the same way again

Yes, in case you were wondering, Billy Idol's iconic 80s creepy-ballad "Eyes Without a Face" was directly influenced by this film (the haunting female vocals in the chorus are singing "les yeux sans visage", something I never noticed until I googled the lyrics just now). And this isn't just a passing association I'm mentioning for the sake of getting the attention of any 80s music fans out there; it actually relates to why this is such a great creepy-ballad of a film."Les yeux sans visage" is only the 2nd feature film of director Georges Franju, but already he showed an absolute mastery of the craft, if not the creation of a whole new genre. This is broadly a horror story, but it's a horror story in the same sense that 2001: A Space Odyssey is a scifi flick. That is, it uses a certain fantasy genre but only as a backdrop to tell a deeper, universal, timeless story about the human condition. In particular, here we focus on the striking contrast between beauty and cruelty. And when I say "cruelty" I don't mean some cartoonish villain with a handlebar mustache cackling as he ties women to railroad tracks. No, here the "cruelty" is scientific, emotionless and in the literal sense of the word: amoral.Our villain "The Professor" (who doesn't have a handlebar mustache but is sporting a very Satanic goatee) is excellently played by Pierre Brasseur as a man who has no emotions. He has neither malice nor benevolence, even though on the surface we want to interpret his actions as such. We assume there's malice because he abducts and does nasty things to pretty young women for his medical experiments. We assume an ironic wisp of benevolence because these experiments are presumably to save the person closest to him, his daughter. But neither assumption is correct. The Professor is pure, unemotional science ("intellect"). He is intelligence without a heart. Balancing this character wonderfully is his daughter who is at first equally amoral--literally without morals like a newborn child--but with a strong, tender, emotional side ("soul") and an inclination to learn and evolve. What we get is a painful and beautiful contrast between the intellect and the soul.Which brings me to the soul half of the equation, and this is what elevates this far above and beyond any horror flick I've ever seen. The daughter is played by newcomer Edith Scob who spends half the film hiding behind a mask but whose graceful charms transcend facial expressions. Almost like a ballet dancer, she uses her body gracefully to convey every feeling we need to know. In fact it's her lack of facial expression that forces us to focus on her body language: movement and form instead. Further highlighting this expression of the human form, we get excellent cinematography, lighting, wardrobe (notice how she is dressed like a human doll) and ESPECIALLY the magical soundtrack giving her a themesong that sounds almost like a music box playing a lullaby.This brings me back to Billy Idol. You thought I forgot. Billy Idol's 1983 "Eyes Without a Face" was a soft, melodic lullaby ballad but with a very menacing edge to the lyrics and instrumentation when the guitars kick in. Just like this film does, it contrasted cruelty against beauty, something which hadn't been explored much in 80s pop music--as well as 50s/60s horror flicks.I have to admit, the first time I watched this movie I didn't really appreciate it the way I should have, much like the first time I heard Billy Idol's tune on the radio. But maybe this review has given you a head start; if you watch this film, keep this stuff in mind and maybe you'll appreciate it right away. "Les yeux sans visage" is not a horror story nor is it a battle between good vs evil. It's a study of beauty vs cruelty, both presented in the vacuum of amorality. This film defies all genres. I guess you could say you can't quite put a face to it. Ha. Seriously folks, you'll never forget it. (Get it? Never forget a FACE). Ok enough lame puns. I'll just close by mentioning that Edith Scob is gorgeous. Her face is really easy on the eyes.
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Reviewed by classicsoncall 8 / 10

"My face frightens me."

This picture has the look and feel of an American made Forties or Fifties horror flick but it's actually a French film made in 1960 and directed by Georges Franju. I don't know what single word might best describe it, but the one that immediately comes to mind is creepy. Everything about the picture tends to horrify the viewer, established with the opening scene as we see the images of passing skeletal trees against a sky of night time darkness. We learn that a middle aged woman (Alida Valli) is on her way to dispose of a body in a nearby river, another failed experiment at the hands of a gifted surgeon named Genessier (Pierre Brasseur). From there, things take an even more frightening turn, as the story explores Genessier's obsession to restore the face of his daughter, horribly disfigured in a car crash for which he was responsible.

The story uses some of that pseudo-scientific babble I love to come across in these types of films, that stuff about a 'heterograft', whereby radiation is a requirement to biologically modify a host body to receive a donor transplant. Because radiation is too intense in the required dosage, exsanguination is deemed the next best available strategy for the type of procedure explained by Professor Genessier to his attentive audience. Funny, but none of that was going on when the good professor got down to the real nitty gritty of his work on daughter Christiane (Edith Scob).

You know, it's hard to describe, but there was something of an ethereal beauty in both the masked and newly engineered face of Christiane following the operation. Didn't you think for a moment that the new face of Christiane would be that of victim Edna Gruber (Juliette Mayniel)? Instead, you had this beautiful face appear, rather astonishingly to convey success for the questionable transplant operation. It's best described by the professor - "There's something angelic about you now" in a cautious appraisal of his daughter's beauty. However things take a disastrous turn as the operation proves fruitless; the girl's body rejects the new face and the mask is required once again.

But you know what I found to be truly outrageous? What was with that police scheme to insert Paulette Merodon (Beatrice Altariba) into the professor's den of horror? There didn't seem to be any control in place to monitor the girl's movements, and she could have been another goner in the doctor's twisted scheme of things.

Well I don't know if modern day viewers of a young age would be affected by the story as much as I was. I think the real terror for them would be watching Christiane use that ancient contraption known as a dial telephone. And then, as if to totally confuse the present day techie, boyfriend Jacques has to answer the phone without benefit of caller ID. Oh, the horror!

Well in any event, I thought this film was a genuine creepfest, heartily recommended to genre fans, particularly as I mentioned earlier, to fans of classic horror films of the Forties and Fifties where the mad scientist reigns. In iconic fashion, the evil doctor gets his in the end here, as we learn the answer to that age old question - who let the dogs out?

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