Harry Kümel's ambitious & courageous film version of Jean Ray's complex novel was offered one big chance to prove itself internationally and to instantly become a genre classic at the annual Cannes Film Festival in 1972. Sadly enough, the shown version which later got rejected by the director didn't impress any audiences then and by the time Kümel came trotting along with his very own (and much better) re-edited version of the film, containing over twenty minutes of extra footage, nobody really cared to see it anymore. Now that's a real pity, because in this restored version "Malpertuis" is a truly brilliant work of Gothic art and unquestionably one of the greatest movies ever made in Belgium. A lot more than in the international-orientated versions, the emphasis now lies on obscure mystery and claustrophobic set designs. Both versions are so incredibly different that the common plot summaries of the international Cannes version, which can be found in newspaper articles and movie websites, actually reveal the mysterious denouement of Kümel's ultimate re-edited version! Those reviews immediately explain what odd types of characters are living in the Malpertuis mansion whereas, in the 'correct' version, it is kept secret to the young protagonist Jan as well as to the viewer. I'm desperately trying not to include any spoilers in this user-comment while the same essential plot twists can be read everywhere over the internet
Evidently this film didn't appeal to anyone in Cannes! You can clearly see where it's going right away and thus the sophisticated and enormously stylish hints that are given to unravel the mystery yourself become completely pointless.
The legendary Orson Welles stars in one of his last glorious roles, as the mighty and fearsome, albeit bed-ridden patriarch of the immense Malpertuis mansion who gathered an eccentric collection of people to announce his last will to. Among them is young sailor Jan, who swore that he would never set foot in Malpertuis ever again and he constantly tries to convince his sister Nancy to do the same. Quentin Cassavius' testament claims that there's a gigantic family fortune to divide, only none of the persons present is allowed to leave the mansion and the last remaining man and woman have to get married. Jan is determined to stay around as soon as he falls in love with the mysteriously beautiful Euryale, but other members of the pact that try to escape the domain are found dead soon after, causing hostility and unrest among the remaining members. Harry Kümel builds up the tension and unfolds the mystery like a genuine master, and all this without showing the slightest bit of graphic violence. Instead, he portrays the ominous mansion like an inescapable surreal dimension with endless dark corridors and spiral staircases. Secondary scenery, like paintings on the wall and statues in the grim attic, magnificently add to the wondrous Gothic atmosphere. Meanwhile, the constant elaboration of patterns and intrigues between the many supportive characters lead the story to one of the most grotesque and devastating climaxes in cinema ever. Of course, you'll only be truly enchanted by this climax if you haven't seen the English/French versions or read any plot descriptions before you watch it. Orson Welles and Mathieu Carrière are great but the true star is Susan Hampshire, playing no less than three different and very complex characters. Harry Kümel's "Malpertuis" is a small masterpiece, combining visual artwork with extraordinary plotting. An absolute must!
The legendary Orson Welles stars in one of his last glorious roles, as the mighty and fearsome, albeit bed-ridden patriarch of the immense Malpertuis mansion who gathered an eccentric collection of people to announce his last will to. Among them is young sailor Jan, who swore that he would never set foot in Malpertuis ever again and he constantly tries to convince his sister Nancy to do the same. Quentin Cassavius' testament claims that there's a gigantic family fortune to divide, only none of the persons present is allowed to leave the mansion and the last remaining man and woman have to get married. Jan is determined to stay around as soon as he falls in love with the mysteriously beautiful Euryale, but other members of the pact that try to escape the domain are found dead soon after, causing hostility and unrest among the remaining members. Harry Kümel builds up the tension and unfolds the mystery like a genuine master, and all this without showing the slightest bit of graphic violence. Instead, he portrays the ominous mansion like an inescapable surreal dimension with endless dark corridors and spiral staircases. Secondary scenery, like paintings on the wall and statues in the grim attic, magnificently add to the wondrous Gothic atmosphere. Meanwhile, the constant elaboration of patterns and intrigues between the many supportive characters lead the story to one of the most grotesque and devastating climaxes in cinema ever. Of course, you'll only be truly enchanted by this climax if you haven't seen the English/French versions or read any plot descriptions before you watch it. Orson Welles and Mathieu Carrière are great but the true star is Susan Hampshire, playing no less than three different and very complex characters. Harry Kümel's "Malpertuis" is a small masterpiece, combining visual artwork with extraordinary plotting. An absolute must!