THE CHAMPAGNE MURDERS

Yvonne Furrneaux and Anthony Perkins

THE CHAMPAGNE MURDERS (aka Le scandale/1967). Director: Claude Chabrol.

Christine Belling (Yvonne Furneaux of The Death Ray Mirror of Dr. Mabuse) has not only acquired the majority of shares in the Wagner champagne business -- probably due to her late father's business tactics -- but a gigolo husband named Christopher (Anthony Perkins). Christopher's buddy, Paul Wagner (Maurice Ronet), who introduced him to his wife, still controls the name of the champagne company, a name that Christine desperately wants to own. Things take a strange turn when a drunk Paul wakes up more than once to find a woman's corpse nearby. Has he gone mad or is somebody framing him?

Maurice Ronet

The Champagne Murders is an arresting enough but very odd movie that holds the attention despite the leisurely pacing and almost episodic nature of the first three quarters of the film. Although this is a post-Psycho movie and Chabrol was a great Hitchcock admirer, the murders in this all happen off-screen -- there are no grisly details or cinematic pyrotechnics. Then the whole thing is topped off with a twist that some viewers may have seen coming while others may be merely confused. The final sequence of the film is lifted a bit from The Big Knife but is undeniably effective.

Christine and her maid

As to the performers -- which include Furneaux and Ronet as well as Stephane Audran, Henry Jones [Deathtrap], and Suzanne Lloyd -- everyone is on target with the exception of Perkins, who is badly miscast as the gigolo and doesn't seem to have any real idea how to play the part. Chabrol probably figured that having a well-known American actor in the role would increase box office in the U.S., but it also compromised his movie. Still, there's something about the picture that keeps you hooked, and while there are things about it that may not seem to make sense, if you think about it a bit it works -- well, except for at least one sequence that makes absolutely no sense once you know the big reveal at the end --  although one could easily argue that (considering the thin characterizations) the movie would have worked even better as a gorier and more violent type of French-style giallo movie.

Verdict: You may be scratching your head at the conclusion, but it's still entertaining and Ronet is compelling. ***. 

THE DEATH RAY MIRROR OF DR. MABUSE

Dead or only resting? Dr. Mabuse

THE DEATH RAY MIRROR OF DR. MABUSE (aka Die Todesstrahlen des Dr. Mabuse/The Death Ray of Dr. Mabuse/1964). Director: Hugo Fregonese.

Following the events of Dr. Mabuse vs. Scotland Yard, Professor Pohland (Walter Rilla) claims that he was forced to do his evil deeds detailed in the last film by the spirit of Dr. Mabuse. There seems to be a new Dr. Mabuse in town, and his adversary this time is Major Bob Anders (Peter van Eyck, who played a different character in the previous film but is basically in the same role as agent). Anders is sent to Malta to protect Professor Larsen (O. E. Hasse), who has invented a deadly "death ray mirror" that is coveted by Mabuse. Anders brings along an old, rather dumb girlfriend named Judy (Rika Dialyna) for cover, and also dallies with Larsen's daughter, Gilda (Yvonne Furneaux), and the Oriental beauty, Mercedes (Yoko Tanio). Other characters are Director Botani (Claudio Gora), the eye-patched Admiral Quency (Leo Genn of Personal Affair), and Gilda's boyfriend, Mario (Gustavo Rojo of Tarzan and the Mermaids), one of whom may be the evil Mabuse. While Death Ray Mirror is better than Scotland Yard, it's still a far cry from a good movie. Like the other sixties Mabuse films, this one is an ersatz Eurospy movie, with all of the usual elements but without the budget and elan to make them come alive in any really entertaining fashion. The "death ray mirror" never really comes into play and has little to do with anything. Peter van Eyck handles the derring do as well as anyone. This is the last of the sixties German Mabuse series, but not the last outing for the bad German doctor.

Verdict: Mabuse deserves better. **.