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| Eyes Without a Face | |
|---|---|
| Directed by | Georges Franju |
| Produced by | Jules Borkon |
| Written by | Pierre Boileau Thomas Narcejac Jean Redon Claude Sautet Georges Franju |
| Starring | Pierre Brasseur Alida Valli Edith Scob François Guérin Juliette Mayniel |
| Music by | Maurice Jarre |
| Cinematography | Eugen Schüfftan |
| Editing by | Gilbert Natot |
| Distributed by | Lopert Pictures |
| Release date(s) | France: 1959 Italy: May 3, 1960 United Kingdom: 1960 United States: October 24, 1962 |
| Running time | 84 min. |
| Country | France Italy |
| Language | French |
Eyes Without a Face (French: Les Yeux sans visage) is a 1959 French-language horror film adaptation of Jean Redon's novel of the same name. Directed by French filmmaker Georges Franju, the film stars Pierre Brasseur as Doctor Génessier, Alida Valli as Louise, his assistant, and Edith Scob as Christiane Génessier. The plot revolves around the obsessive Doctor Génessier and his attempt at heterografting by experimental surgery to restore the face of his daughter, Christiane, whose face has been horribly disfigured in a car accident. With the help of Louise, Doctor Génessier lures young women into his home laboratory to perform experiments on them that will restore Christiane's beauty.
During the film's production, consideration was given to the standards of European censors by setting the right tone, minimizing bloodiness and eliminating the mad scientist character. Although the film passed through the European censors, the film's 1960 release in Europe caused controversy nevertheless. Critical reaction ranged from praise to disappointment and disgust.
Eyes Without a Face received an American debut in an edited form in 1962 under the title of The Horror Chamber of Dr. Faustus. It was released as a double feature with the horror film, The Manster. The films initial critical reception was not overtly positive, but subsequent theatrical and home video re-release of the film increased its reputation. Modern critics praise the film today for its poetic nature as well as being a notable influence on filmmakers such as John Carpenter, Jesús Franco and John Woo.
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