Review: ‘Flesh and Fantasy’

This is a decidedly novel and unusual picture, displaying the impress on individuals of dreams, fortune-telling and other supernatural phenomena. Picture idea was contrived by Charles Boyer and Julien Duvivier and sold to Universal, with pair combining as producers, Duvivier also directing, and Boyer handling a major acting assignment.

This is a decidedly novel and unusual picture, displaying the impress on individuals of dreams, fortune-telling and other supernatural phenomena. Picture idea was contrived by Charles Boyer and Julien Duvivier and sold to Universal, with pair combining as producers, Duvivier also directing, and Boyer handling a major acting assignment.

Clubmen Robert Benchley and David Hoffman discuss dreams, predictions and the supernatural to provide necessary interweave of the three episodes on display.

First delves into romance of Betty Field, who’s become calloused, bitter and defeated through ugly features. But on Mardi Gras night she is handed a beautiful face mask and romances with Robert Cummings and finally discovers truth in the moral: faith in yourself is the main thing.

Second episode presents Thomas Mitchell as a palmist at a socialite group, and after attorney Edward G. Robinson scoffs at the predictions, latter nevertheless submits to a reading, and becomes intrigued when he’s told he will commit murder.

Boyer shares starring honors with Barbara Stanwyck in the final episode, which has the former upset by dream which predicts disaster to himself while performing as a circus high-wire artist.

Flesh and Fantasy

Production

Universal. Director Julien Duvivier; Producer Charles Boyer, Julien Duvivier; Screenplay Ernest Pascal, Samuel Hoffenstein, Ellis St Joseph; Camera Paul Ivano, Stanley Cortez; Editor Arthur Hilton; Music Alexandre Tansman

Crew

(B&W) Extract of a review from 1943. Running time: 92 MIN.

With

Edward G. Robinson Charles Boyer Barbara Stanwyck Betty Field Robert Cummings Thomas Mitchell

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