DARK PORTALS: THE CHRONICLES OF VIDOCQ
There have been several non-fantastic films based on Vidocqs life with the silent French serial Vidocq (1922), the French sound film Vidocq (1938), the Hollywood production A Scandal in Paris (1946) directed by Douglas Sirk with George Sanders as Vidocq, the French The Cavalier of Croix-Mort (1948) and two French tv series Vidocq (1967) and The New Adventures of Monsieur Vidocq (1971-3). The film here is not concerned with the historical Vidocq, although a potted account of his life does pass by as a series of headlines beneath the opening credits. Rather, director Pitof takes Vidocqs life as a leaping off point for a wholly fantastical tale. 19th Century Paris is conceived as a gorgeously extravagant alternate world akin to The City of Lost Children (1995) combined with the serial adventures of Louis Feuillade.
To his parents, Pitof might otherwise be known as Jean-Christophe Comar but he adopted the Pitof moniker from a childhood nickname. Pitof started off in the industry supervising visual effects for music videos and French fantastic films like Delicatessen (1991), Les Visiteurs (1993), The City of Lost Children, Alien: Resurrection (1997), Asterix and Obelix vs Caesar (1999) and The Messenger: The Story of Joan of Arc (1999). Pitof made his directorial debut with Vidocq, although the film that was always be associated with his name is the disaster of the Halle Berry starring Catwoman (2004). This is a shame in that Vidocq and Catwoman exist at almost completely opposite poles in terms of quality. Catwoman might well have done any directors career in and it took a few years for Pitof to bounce back with the Romanian-made fantasy film Fire & Ice (2008) by which time he had taken to dropping the name Pitof and going by his given name. He has directed nothing since that.
Vidocq feels like the filmed equivalent of a graphic novel it takes place entirely in a designer world where the exteriors come with airbrushed skies and tinted fields. It is a film that has been made for the pure love of luxuriantly fantastique visuals. One of the most striking images is The Alchemist with his mirrored facemask in one scene, he kneels over a person so they can see their own face reflected as he slits their throat. There is an extraordinary scene where Gerard Depardieu races across a piazza (one that exists entirely as a digital insert) to snatch the hat off a mans head and toss it up into the air, just as it is hit in midair by the lightning bolt, followed by Depardieu pursuing The Alchemist around the parapet of a cathedral and into a bell tower where The Alchemist opens his cape to unleash a flock of birds at him.
The sets come with an amazing degree of baroque ornamentation. In an alleyway of prostitutes, we encounter a juggler who walks about with a miniature trapeze on his back upon which a toy devil figure tumbles; in one of the brothels, Guillaume Canet encounters a silhouette of lovers behind a curtain, which turns out to be an intricately built clockwork machine that simulates coupling motion. The venture down into The Alchemists lair is an amazing piece of production design that travels through dank oozing tunnels lit only by torchlight into a rickety laboratory filled with a maze of wooden platforms, where candles hang from ornate censers and vast sleeves of skin hang from the roof dripping red ichor and are revealed to have bodies inside. Pitof even shoots aerial shots looking down on rooms where the carpets and tiled floor have been arranged simply for the extravagant patterns they make.
The film reaches an improbable twist ending, particularly when it comes to revealing the identity of The Alchemist. Jean-Christophe Grange has pulled a detective story twist not unakin to the same deceptive narrator identification twist that we had in Angel Heart (1987). This is somewhat of a cheat as it reveals The Alchemist to be someone more mundane than all the build-up has led one to believe. Indeed, the mundane revelation of The Alchemists identity never explains how he is able to do various things like teleport about or materialise flocks of birds from inside his cape. There is however an amazing climactic fight where Vidocq uses a hall of mirrors to release The Alchemists trapped souls.
You can see what the producers hoped to achieve by bringing Pitof to America to make Catwoman and you can guarantee that if Catwoman had been made with the fervidly charged style and atmosphere that Vidocq has it would have been a classic. Quite how Pitof could go from a visually stunning work like Vidocq to a film like Catwoman that ended up being laughed off screens and won multiple Golden Raspberry Awards year it came out is hard to understand. (To Pitofs credit, he claims that the producers of Catwoman dumped his much more fantastical version). I dismissed Pitof after watching Catwoman, but after seeing Vidocq, one would be most interested in seeing what else he is capable of doing.
(Nominee for Best Production Design at this sites Best of 2001 Awards).