Favraux, a corrupt banker living a life of luxury in Paris, receives a note from an avenger named Judex, claiming that he must turn over half of his fortune to the public affairs bureau or else. Favraux hires a private detective, Cocatin, to protect him, but at his daughter's engagement party that night, he suffers what appears to be a cardiac attack, and dies. However, Favraux is not dead. He is taken by Judex (and his brother Roger) to a cliffside estate, where in the basement Favraux is imprisoned in Judex's super-scientific laboratory. Jacqueline, Favraux's daughter, learns of her father's crookedness and gives the entire fortune away. A pair of crooks, Diana Monti and Morales, were originally after Favraux's money before he "died", but suspect he may be alive, and are after Jacqueline and her son, Jean (a really annoying character), thinking they know where Favraux is. Its up to Judex to bring these crooks to justice. A hard serial to describe since its very Dickensian in all of its characters and plots. Creste is good as Judex, as is Musidora and Levesque as Cocatin. My main trouble was that the serial went from a very good crime element slowly drifting into melodrama for the second half of the serial, with little action or suspense until the boat finale. Feulliade did a very good job with directing and co-authoring the tale. Rating, 7.
12 Reviews
Judex review
JoeytheBrit29 June 2020
An epic 5 hour serial in which Rene Creste rakishly dons black cape and hat as the title character (who takes his name from the Latin word for Justice) in order to right the wrongs suffered by his late father at the hands of corrupt banker Favraux. Judex features far less action than most silent serials, but easily transcends them in terms of thematic sophistication and depth of character as it dwells on the nature and complexity of justice. An entertaining saga that feels far shorter than 5 hours despite its measured pace.
"You don't have any enemies that you know of?"
ackstasis2 August 2008
Warning: Spoilers
Serials, an alternative to the lengthy epics that D.W. Griffith was pioneering at about the same time, were particularly popular in France during the 1910s, and director Louis Feuillade led the charge, most notably with his 'Les Vampires (1915).' Though undoubtedly low-budget and workmanlike in terms of sets and photography, these serials thrilled audiences with their twisty, convoluted plots and ensemble casts of characters, and the lengthy running times allowed considerable character development.
PROLOGUE: This episode does an effective job of catching our interest, and of building slowly towards the arrival of our hero. From the moment we see the name JUDEX printed lavishly across the mysterious letter, we wait eagerly for the enigmatic crime-fighter to make his entrance. Marcel Lévesque as Cocantin has impressed me the most so far, the amateur detective being so eager to please, and yet having hardly an idea of what is actually expected of him.
THE MYSTERIOUS SHADOW: Very little actually happened in Episode 1. Of course, we found out that Favraux's death was faked, but, as I was unfortunately already privy to that information, it didn't come as much of a surprise. Judex (René Cresté) finally makes his long-awaited entrance, but it didn't have the spectacle that I was expecting, and he was limited to just two brief scenes, with his motivations and intentions still very much obscure. THE ATONEMENT: Things finally started to happen in Episode 2. The plot to kidnap Jacqueline (Yvette Andréyor) dramatically came into fruition, and Judex strikes out in hot pursuit. Little Jean (Olinda Mano) whom the filmmakers seemingly forgot was supposed to be a boy makes the touching acquaintance of the Licorice Kid, a miniature version of the Artful Dodger. There's even a super-primitive surveillance camera!
THE FANTASTIC DOG PACK: Probably the most entertaining episode so far, Episode 3 features various interconnecting plot-threads coming into play. It's interesting to note just how many characters have already been introduced, each person having their own distinct subplot that shifts in and out of the limelight; the narrative structure is very prescient of many modern television series. THE SECRET OF THE TOMB: There wasn't enough Judex in Episode 4. Though Feuillade delivered an unexpected plot-twist in the attempted assassination of Jacqueline, not much else actually happened, and the story basically seems to be treading-water at present. The young actor playing the Licorice Kid is actually bringing some genuine maturity to the role, which is impressive.
THE TRAGIC MILL: Bravo! So far, I've been able to spot most of the story's twists ahead of schedule, but the final seconds of Episode 5 caught me completely by surprise. Has Judex been masquerading as Vallieres the whole time, or merely for the final sequence? The episode at the mill is concise and engaging, the true identity of Moralés is revealed (I spotted this one several episodes ago) and Judex comes to the rescue in his high-powered speedboat. THE LICORICE KID: Episode 6 was quite a bit of fun, mostly due to Cocantin, who discovers the joys of babysitting after Diana Monti (Musidora) kidnaps little Jean and coerces the out-of-his-depth investigator into looking after him. Judex formulates a daring rescue plan that I don't recommend you recreate at your next hostage situation, and the Licorice Kid finally discovers a fatherly figure.
THE WOMAN IN BLACK: Despite an absence of action, Episode 7 was actually rather engrossing. Via a flashback, we learn the origin of Judex's hatred for Favraux the banker, and he has a damn good reason to be upset with the man! This was an interesting catch-up episode that really fleshed out the story and clarified a few details before we progress any further. THE UNDERGROUND PASSAGES OF THE CHÁTEAU-ROUGE: There isn't really much to say about Episode 8, though it was sufficiently absorbing. Moralés, having revealed to us his real identity, commits to turning his life in a new direction, but the seductive and manipulative qualities of Diana Monti need only seconds to take effect with disastrous consequences.
WHEN THE CHILD APPEARED: It's taken me a while to move onto this Episode 9. Perhaps the serial is beginning to lose some of its momentum, but at least now I'm adequately engrossed in the story again. Judex discretely attempts to introduce himself into Jacqueline's life, perhaps a selfish maneuver that will ultimately blow up in his face. Monti and Moralés have seized Favraux from under their noses, and I have no doubt that Monti has some nasty tricks up her sleeve. JACQUELINE'S HEART: Episode 10 is astonishingly brief, running less than ten minutes, but it moves us onto the next phase in Jacqueline's understanding of events not only is her father alive, but she has been deceived by everybody whom she has come to trust. How will she respond to these discoveries with sympathy or anger? Will she ever forgive Judex for lying to her? I predict she will at least by the serial's end.
THE WATER GODDESS: Episode 11 was the serial's climactic suspense piece. With Judex hostage on Diana Monti's ship, it falls to Cocanti's newfound fiancé Miss Daisy Torp, an expert swimmer, to come to his aid. There are some classic thriller situations, particularly when Judex is released from his bondage and places the hapless Moralés in his place. Our slimy villains are finally toppled, and Favraux uncovers his humanity. LOVE'S FORGIVENESS: Love and reconciliation are the themes of Episode 12. All the loose threads are tied up nicely, and, because we've spent the last five hours getting to know the characters, their happy conclusion really is genuinely satisfying. The image of Diana Monti's lifeless body stretched out in the waves is exquisitely poignant, and the final image of Judex and Jacqueline "in the land where the nights are made of silver and velvet" sets the tone for a rewarding conclusion to a long journey.
PROLOGUE: This episode does an effective job of catching our interest, and of building slowly towards the arrival of our hero. From the moment we see the name JUDEX printed lavishly across the mysterious letter, we wait eagerly for the enigmatic crime-fighter to make his entrance. Marcel Lévesque as Cocantin has impressed me the most so far, the amateur detective being so eager to please, and yet having hardly an idea of what is actually expected of him.
THE MYSTERIOUS SHADOW: Very little actually happened in Episode 1. Of course, we found out that Favraux's death was faked, but, as I was unfortunately already privy to that information, it didn't come as much of a surprise. Judex (René Cresté) finally makes his long-awaited entrance, but it didn't have the spectacle that I was expecting, and he was limited to just two brief scenes, with his motivations and intentions still very much obscure. THE ATONEMENT: Things finally started to happen in Episode 2. The plot to kidnap Jacqueline (Yvette Andréyor) dramatically came into fruition, and Judex strikes out in hot pursuit. Little Jean (Olinda Mano) whom the filmmakers seemingly forgot was supposed to be a boy makes the touching acquaintance of the Licorice Kid, a miniature version of the Artful Dodger. There's even a super-primitive surveillance camera!
THE FANTASTIC DOG PACK: Probably the most entertaining episode so far, Episode 3 features various interconnecting plot-threads coming into play. It's interesting to note just how many characters have already been introduced, each person having their own distinct subplot that shifts in and out of the limelight; the narrative structure is very prescient of many modern television series. THE SECRET OF THE TOMB: There wasn't enough Judex in Episode 4. Though Feuillade delivered an unexpected plot-twist in the attempted assassination of Jacqueline, not much else actually happened, and the story basically seems to be treading-water at present. The young actor playing the Licorice Kid is actually bringing some genuine maturity to the role, which is impressive.
THE TRAGIC MILL: Bravo! So far, I've been able to spot most of the story's twists ahead of schedule, but the final seconds of Episode 5 caught me completely by surprise. Has Judex been masquerading as Vallieres the whole time, or merely for the final sequence? The episode at the mill is concise and engaging, the true identity of Moralés is revealed (I spotted this one several episodes ago) and Judex comes to the rescue in his high-powered speedboat. THE LICORICE KID: Episode 6 was quite a bit of fun, mostly due to Cocantin, who discovers the joys of babysitting after Diana Monti (Musidora) kidnaps little Jean and coerces the out-of-his-depth investigator into looking after him. Judex formulates a daring rescue plan that I don't recommend you recreate at your next hostage situation, and the Licorice Kid finally discovers a fatherly figure.
THE WOMAN IN BLACK: Despite an absence of action, Episode 7 was actually rather engrossing. Via a flashback, we learn the origin of Judex's hatred for Favraux the banker, and he has a damn good reason to be upset with the man! This was an interesting catch-up episode that really fleshed out the story and clarified a few details before we progress any further. THE UNDERGROUND PASSAGES OF THE CHÁTEAU-ROUGE: There isn't really much to say about Episode 8, though it was sufficiently absorbing. Moralés, having revealed to us his real identity, commits to turning his life in a new direction, but the seductive and manipulative qualities of Diana Monti need only seconds to take effect with disastrous consequences.
WHEN THE CHILD APPEARED: It's taken me a while to move onto this Episode 9. Perhaps the serial is beginning to lose some of its momentum, but at least now I'm adequately engrossed in the story again. Judex discretely attempts to introduce himself into Jacqueline's life, perhaps a selfish maneuver that will ultimately blow up in his face. Monti and Moralés have seized Favraux from under their noses, and I have no doubt that Monti has some nasty tricks up her sleeve. JACQUELINE'S HEART: Episode 10 is astonishingly brief, running less than ten minutes, but it moves us onto the next phase in Jacqueline's understanding of events not only is her father alive, but she has been deceived by everybody whom she has come to trust. How will she respond to these discoveries with sympathy or anger? Will she ever forgive Judex for lying to her? I predict she will at least by the serial's end.
THE WATER GODDESS: Episode 11 was the serial's climactic suspense piece. With Judex hostage on Diana Monti's ship, it falls to Cocanti's newfound fiancé Miss Daisy Torp, an expert swimmer, to come to his aid. There are some classic thriller situations, particularly when Judex is released from his bondage and places the hapless Moralés in his place. Our slimy villains are finally toppled, and Favraux uncovers his humanity. LOVE'S FORGIVENESS: Love and reconciliation are the themes of Episode 12. All the loose threads are tied up nicely, and, because we've spent the last five hours getting to know the characters, their happy conclusion really is genuinely satisfying. The image of Diana Monti's lifeless body stretched out in the waves is exquisitely poignant, and the final image of Judex and Jacqueline "in the land where the nights are made of silver and velvet" sets the tone for a rewarding conclusion to a long journey.
A fantastic adventure film recounting the exploits of, perhaps, the first caped-crusader, Judex.
Musidora26 April 2000
A fantastic adventure film recounting the exploits of, perhaps, the first caped-crusader, Judex. After Feuillade thrilled film-goers with his crime masterpiece, LES VAMPIRES (1915/16), he took a more light-handed approach with JUDEX extolling virtue rather than celebrating crime. Again, fresh from her success as Irma Vep in LES VAMPIRES, the beautiful MUSIDORA appeared as the wicked governess/adventuress Diana Monti. MARCEL LEVESQUE, Mazamette of LES VAMPIRES, also co-stars with Rene Creste as Judex. Watch for a very early form of television used by Judex in his cliff-side hide-out!
A deeply humanistic take on the eternal struggle between good and evil.
lonchaney2016 July 2015
Warning: Spoilers
After putting it off for several centuries, I finally finished watching Louis Feuillade's Judex (1916). Encouraged by my positive experience with Feuillade's Fantômas adaptations, I sought out more of the director's work, beginning with this serial. If Fantômas is cinema's first supervillain, then Judex might be its first superhero. We are introduced to Judex, a mysterious vigilante with his own hi-tech hideout, with a threatening note he sends to the crooked banker Favraux: Favraux is to give all of his wealth to his victims, or die at the stroke of midnight. Like so many superheroes after him, though, Judex is unable to take the banker's life. Instead he imprisons him at his remote base, which leads to numerous complications.
At first I had trouble getting into this film, which is less inventive and action-packed than its predecessor, Fantômas. Whereas Feuillade's workmanlike direction depicted the insane scenarios of Fantômas in a matter-of-fact way, resulting in a proto-Surrealist atmosphere, for the most part there is no such synergy here. Instead Judex largely loses itself in sentimental scenes so syrupy that they nearly prevented me from finishing the series. After watching and loving Georges Franju's 1963 remake, however, my interest was reignited. As it turns out, the point at which I picked up again marks a major shift, both from Franju's adaptation and from Feuillade's previous chapters. While earlier episodes meander too often into dull scenes of people hugging and kissing each other, episode 7 ("The Woman in Black") is unexpectedly sophisticated in its construction. Judex's ultimate motives in Franju's film remain mysterious (a wise decision in that context), but here we learn the traumatic childhood event that led to Judex's crusade against Favraux. The tragic back-story not only reveals Judex's reasons for targeting Favraux, but also further illuminates the character's inner moral struggle.
One of my other quibbles as I began watching Judex was my disappointment in Judex himself. Fantômas remains a charismatic and frightening criminal mastermind; Judex, on the other hand, lacks presence. He is often outsmarted and overpowered by his criminal foes, and his love for Favraux's daughter leads to many scenes of the lovelorn Judex moping around. Having finally finished the series, however, I now see things in a different light. Unlike the anarchic Fantômas, this series represents a deeply humanistic take on the eternal struggle between good and evil. Though Judex has great reason to despise Favraux, his love for Favraux's daughter has him reconsidering his dogmatic stance against criminals. He gradually comes to believe in the capacity for villains to reform themselves, and he is more likely to rely on non-violent means to meet his goals. In this film, even the worst of criminals is not beyond redemption. Perhaps not the superhero film that we deserve, but in this age of gritty reboots it might be the one that we need.
At first I had trouble getting into this film, which is less inventive and action-packed than its predecessor, Fantômas. Whereas Feuillade's workmanlike direction depicted the insane scenarios of Fantômas in a matter-of-fact way, resulting in a proto-Surrealist atmosphere, for the most part there is no such synergy here. Instead Judex largely loses itself in sentimental scenes so syrupy that they nearly prevented me from finishing the series. After watching and loving Georges Franju's 1963 remake, however, my interest was reignited. As it turns out, the point at which I picked up again marks a major shift, both from Franju's adaptation and from Feuillade's previous chapters. While earlier episodes meander too often into dull scenes of people hugging and kissing each other, episode 7 ("The Woman in Black") is unexpectedly sophisticated in its construction. Judex's ultimate motives in Franju's film remain mysterious (a wise decision in that context), but here we learn the traumatic childhood event that led to Judex's crusade against Favraux. The tragic back-story not only reveals Judex's reasons for targeting Favraux, but also further illuminates the character's inner moral struggle.
One of my other quibbles as I began watching Judex was my disappointment in Judex himself. Fantômas remains a charismatic and frightening criminal mastermind; Judex, on the other hand, lacks presence. He is often outsmarted and overpowered by his criminal foes, and his love for Favraux's daughter leads to many scenes of the lovelorn Judex moping around. Having finally finished the series, however, I now see things in a different light. Unlike the anarchic Fantômas, this series represents a deeply humanistic take on the eternal struggle between good and evil. Though Judex has great reason to despise Favraux, his love for Favraux's daughter has him reconsidering his dogmatic stance against criminals. He gradually comes to believe in the capacity for villains to reform themselves, and he is more likely to rely on non-violent means to meet his goals. In this film, even the worst of criminals is not beyond redemption. Perhaps not the superhero film that we deserve, but in this age of gritty reboots it might be the one that we need.
Great natural acting, photography and therefore, directing.
simplysimon220 May 2013
Warning: Spoilers
Discovered on TMC in 2013, never heard of it before, but for a 1917 film it is outstanding in its natural acting style, making DW Griffith's work look hokey. The photography is first rate. 1st, cameras were hand cranked and these films have none of the speeded-up action of that time. Also the lighting is exquisite, especially the use of "natural light" indoors with streaming light & shadow. The pace is slower than films of that period, the story breathes. "The Licorice Kid" is a delightful steal of Dicken's "Artful Dodger" in "Oliver Twist".
Storytelling twists; the villain is forgiven and the master-mind behind it all is a woman
Storytelling twists; the villain is forgiven and the master-mind behind it all is a woman
The Origins of The Shadow And Batman Begin Here
springfieldrental17 July 2021
French writer/director Louis Feuillade found his niche creating movie serials when he successfully brought to the screen two very popular movie series, 1913 "Fantomas" and 1915 "Les Vampires." Some do-gooder critics, though, howled at his two productions, complaining his so-called heroes were in fact criminals committing evil acts.
Feuillade took their harsh critiques personally, and set out towards a different path in his next serial. The release of the 12-part series "Judex," beginning in December 1916, set the tone for a new hero in movies, one partly based on the main character in Alexandre Dumas' 1844 novel "The Count of Monte Cristo."
Judex (latin for "Judge") is a son of a wealthy family whose father was financially ruined by a ruthless, corrupt banker, who sucked the wealth out of many other unsuspecting people. Judex exacts revenge by faking the banker's death and kidnapping him into his elaborate cave lair. The banker's beautiful daughter, previously oblivious to her father's shenanigans, renounces his fortune when she finds out the unethical practices he committed. Judex has romantic eyes for the daughter, but the banker's governess/mistress, played by actress Musidora (Irma Vep in "Les Vampires"), had her own devious plans of getting his fortune, only to be foiled by the events engineered by Judex. She suspects the banker is alive and gets her criminal gang in motion to find out where he is.
Through the mostly 30-minute episodes where intrigue, romance, and the righteous over evil battle take place, "Judex" was a big hit in war-torn European theaters during World War One. After the war, Feuillade directed a sequel serial, "Judex's New Mission" in 1918.
The 1930 radio show character "The Shadow" and the 1939 introduction of "Batman" in the comics have direct linkages to Judex, making the French serial the first movie to have a superhero as its main character. In fact, the French comic book "Hurrah!" published a series beginning in 1940 on Judex, which simply was a French translation of the American comic strip, The Shadow.
Feuillade took their harsh critiques personally, and set out towards a different path in his next serial. The release of the 12-part series "Judex," beginning in December 1916, set the tone for a new hero in movies, one partly based on the main character in Alexandre Dumas' 1844 novel "The Count of Monte Cristo."
Judex (latin for "Judge") is a son of a wealthy family whose father was financially ruined by a ruthless, corrupt banker, who sucked the wealth out of many other unsuspecting people. Judex exacts revenge by faking the banker's death and kidnapping him into his elaborate cave lair. The banker's beautiful daughter, previously oblivious to her father's shenanigans, renounces his fortune when she finds out the unethical practices he committed. Judex has romantic eyes for the daughter, but the banker's governess/mistress, played by actress Musidora (Irma Vep in "Les Vampires"), had her own devious plans of getting his fortune, only to be foiled by the events engineered by Judex. She suspects the banker is alive and gets her criminal gang in motion to find out where he is.
Through the mostly 30-minute episodes where intrigue, romance, and the righteous over evil battle take place, "Judex" was a big hit in war-torn European theaters during World War One. After the war, Feuillade directed a sequel serial, "Judex's New Mission" in 1918.
The 1930 radio show character "The Shadow" and the 1939 introduction of "Batman" in the comics have direct linkages to Judex, making the French serial the first movie to have a superhero as its main character. In fact, the French comic book "Hurrah!" published a series beginning in 1940 on Judex, which simply was a French translation of the American comic strip, The Shadow.
Judex--An Enjoyable Adventure
Andyh7413 October 2007
Warning: Spoilers
I loved Louis Feuillade's "Les Vampires" (I have it on DVD) and when I heard about "Judex," I just had to get it as well. Flicker Alley has done a restoration of "Judex," incorporating all available footage, and so the 2-disc DVD of Judex is the most complete available.
"Judex" is Latin for "justice," and the plot involves the title character's quest for it despite he taking the law into his own hands and becoming judge and jury (he does not execute). During his quest, the theme of family emerges--their destruction, reunion, and creation.
Mystery and twists, which kept me second-guessing, plus plenty of action sequences, escapes, double-crosses, and comedy definitely make "Judex" an enjoyable adventure for me.
The two-disc set also includes a 17-minute documentary on composer Robert Israel and his story on creating the music for "Judex." An adventure that drew me in, "Judex" is definitely worth seeing, and makes me hope that other Louis Feuillade serials make their way onto DVD.
"Judex" is Latin for "justice," and the plot involves the title character's quest for it despite he taking the law into his own hands and becoming judge and jury (he does not execute). During his quest, the theme of family emerges--their destruction, reunion, and creation.
Mystery and twists, which kept me second-guessing, plus plenty of action sequences, escapes, double-crosses, and comedy definitely make "Judex" an enjoyable adventure for me.
The two-disc set also includes a 17-minute documentary on composer Robert Israel and his story on creating the music for "Judex." An adventure that drew me in, "Judex" is definitely worth seeing, and makes me hope that other Louis Feuillade serials make their way onto DVD.
Entertaining Silent Serial
JLRMovieReviews29 June 2020
Judez demands justice against a rich man who ruined people financially, among other things. Judex is making him face the consequences. Meanwhile, a woman just hired as a nanny has her own agenda. Also, meanwhile a old man comes to the rich man for help in finding his long-lost son. In the beginning this played out like a soap opera, with so many plots and people to keep track of. They all blend together eventually. Despite its flaws, I found this to be very entertaining. All the characters were three-dimensional and you really get drawn into this so easily. The hired detective and the licorice kid are highlights of this silent serial that delivers the goods, albeit in a long-winded way.
The best superhero movie of all time?
McFrogg19 April 2018
Warning: Spoilers
It's fun to see the similarities between the "proto-superhero" Judex and modern superheroes like Batman. Both are rich, have secret identities and a secret HQ, both are masters of disguise, experienced a childhood tragedy, swore a holy oath etc.
It's amazing that a movie that's over a hundred hears old manages to be more exciting than many of the newer superhero movies. There are so many likeable characters in this serial, and it's easy to care about them. It's almost like reading a novel like War and Peace or Lord of the Rings.
It's a very beautiful movie to look at. The landscape shots are nice, with towns, castles, mills and cities. It's interesting to see how things looked before they ruined everything with ugly modern architecture. The new score by Robert Israel fits the movie perfectly, with Grieg's "Solveig's Song" during sad scenes. This must be one of the most relaxing action-adventure movies ever. I recommend seeing this before you go to bed.
It's also a lot more meaningful than many of the modern superhero movies. The newer superhero movies are often filled with negative emotions like hatred and rage (Batman v Superman). Judex may at first seem like a simple tale of revenge, but is really a story about forgiveness.
Now Imagine if Batman (1989) ended with Batman forgiving the Joker...the only modern comic book movie where forgiveness is a theme is the underrated Spider-Man 3. I think more comic book movies should include things like that.
So skip nihilistic McMovies like Deadpool or Batman v Superman and watch Judex instead. It's good for your soul!
It's amazing that a movie that's over a hundred hears old manages to be more exciting than many of the newer superhero movies. There are so many likeable characters in this serial, and it's easy to care about them. It's almost like reading a novel like War and Peace or Lord of the Rings.
It's a very beautiful movie to look at. The landscape shots are nice, with towns, castles, mills and cities. It's interesting to see how things looked before they ruined everything with ugly modern architecture. The new score by Robert Israel fits the movie perfectly, with Grieg's "Solveig's Song" during sad scenes. This must be one of the most relaxing action-adventure movies ever. I recommend seeing this before you go to bed.
It's also a lot more meaningful than many of the modern superhero movies. The newer superhero movies are often filled with negative emotions like hatred and rage (Batman v Superman). Judex may at first seem like a simple tale of revenge, but is really a story about forgiveness.
Now Imagine if Batman (1989) ended with Batman forgiving the Joker...the only modern comic book movie where forgiveness is a theme is the underrated Spider-Man 3. I think more comic book movies should include things like that.
So skip nihilistic McMovies like Deadpool or Batman v Superman and watch Judex instead. It's good for your soul!
Musidora superb, but Judex has many flaws
Xeresa626 October 2004
I recently saw Judex on television, and again I was impressed by the actress, Musidora, who had captured my attention as Irma Vep in Les Vampires. I found her villainess far more watchable than the anemic heroine chosen for the arrogant, vaguely ridiculous hero Judex. Musidora showed a naturalness and grace reminiscent of Rudolph Valentino at his best! The others were often over-emoting to the nth degree.
I also never understood why they had an obvious little girl in the role of the heroine's son,Jean. Little Olinda(Jean) really had a crush on the male child playing the Licorice Kid! The actor playing Judex's brother Roger was handsome and I think a beter silent actor than the man playing the lead. I found myself rooting for Diana Monti(aka Musidora) to eliminate the hero, and that is a sad commentary on the film in general! This film was supposedly to be light-hearted, but I found the storyline silly and often mawkish. Still, Musidora kept me watching despite the numerous flaws, and for her alone I recommend viewing this film!
I also never understood why they had an obvious little girl in the role of the heroine's son,Jean. Little Olinda(Jean) really had a crush on the male child playing the Licorice Kid! The actor playing Judex's brother Roger was handsome and I think a beter silent actor than the man playing the lead. I found myself rooting for Diana Monti(aka Musidora) to eliminate the hero, and that is a sad commentary on the film in general! This film was supposedly to be light-hearted, but I found the storyline silly and often mawkish. Still, Musidora kept me watching despite the numerous flaws, and for her alone I recommend viewing this film!
One of the first "superheroes?"
da prof11 June 2007
Warning: Spoilers
That's approximately what the advertising on the DVD says, but it would be more proper to say that Judex (whose name means "Justice") is a continuation of the basic idea of the obsessed revenger of wrongs, as with the 1903 character the Scarlet Pimpernel.
Judex does have what could *almost* be called a costume, in that at times he dresses all in black, with a hat and cloak that might remind some of the pulp-hero The Shadow. His face, though, is completely exposed, so his attire is more of a correlative of his mood than some bigger-than-life symbol of his mission. Judex's actor Robert Creste is often seen in ordinary clothes, even in some of his encounters with the villains, so there really doesn't seem to be any question of a "secret identity." There's no fantastic content to speak of and Judex doesn't even get into what one could term "fights." Another adjective applied to JUDEX in the advertising is "dreamlike." I've seen this applied to Feullaide's other serial LES VAMPIRES and didn't think it applies to that one either. The photography of JUDEX is admirably staged but all of the events are entirely mundane, never for a moment suggesting the metamorphoses of dream. Carl Dryer's VAMPYR or even Melies' TRIP TO THE MOON are far more suggestive in their respective usages of imagery than anything I've seen from Feullaide. And sorry, I don't get that much from Musidora, iconic "vamp" though she may be.
JUDEX itself is entertaining in a slow-paced way, but it's largely a quaint curiosity.
Judex does have what could *almost* be called a costume, in that at times he dresses all in black, with a hat and cloak that might remind some of the pulp-hero The Shadow. His face, though, is completely exposed, so his attire is more of a correlative of his mood than some bigger-than-life symbol of his mission. Judex's actor Robert Creste is often seen in ordinary clothes, even in some of his encounters with the villains, so there really doesn't seem to be any question of a "secret identity." There's no fantastic content to speak of and Judex doesn't even get into what one could term "fights." Another adjective applied to JUDEX in the advertising is "dreamlike." I've seen this applied to Feullaide's other serial LES VAMPIRES and didn't think it applies to that one either. The photography of JUDEX is admirably staged but all of the events are entirely mundane, never for a moment suggesting the metamorphoses of dream. Carl Dryer's VAMPYR or even Melies' TRIP TO THE MOON are far more suggestive in their respective usages of imagery than anything I've seen from Feullaide. And sorry, I don't get that much from Musidora, iconic "vamp" though she may be.
JUDEX itself is entertaining in a slow-paced way, but it's largely a quaint curiosity.
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