I haven't seen the original Judex, but I've seen Ultus, the equivalent British serial of the era... and I definitely recognise the style here. Multiple disguises, hairbreadth escapes from death, jawdropping coincidences, gadgetry and sleight of hand... and villains who never kill their victims when they ought to!
The print in the BFI National Archive was in beautiful condition (save for some oversized and rather intrusive subtitling), and this film is visually and musically stunning; the Maurice Jarre soundtrack is lovely, fitting and eerie. The morality of the story -- despite its simplistic chase format -- is surprisingly grey, with Jacqueline the only pure innocent (and thus, alas, the least interesting character). It's hard not to sympathise with Favraux in his situation, despite everything that we learn, or with young Morales, caught between the ruthless woman he loves and his long-lost father, and Judex himself finds his self-appointed mission of punishment harder and harder to fulfil.
Scenes like the masked ball (shrouded in almost surreal mystery, since it is not until afterwards that we have any idea what was going on!) and the spider-like climb of Judex' minions to the roof are very memorable, while the film also has a nice line in self-deflating humour, courtesy of the fiction-obsessed detective Cocantin and his rapport with small children. For such a preposterous comic-strip confection the plot holds together quite well, although having displayed such crowning ineptitude in their first attempt to kill Jacqueline (and what happened to the original idea of questioning her first?), it's hard to understand why the plotters don't just make away with her immediately the next time they get the opportunity!
The one thing that really grated, as with all old historical dramas, was the very 'modern' hairstyles and make-up used on all the eye-candy characters in order to make them attractive to a contemporary 1960s audience -- the result now, of course, is that instead of appearing subconsciously appealing they appear distractingly out of period. It's hard to credit a swooning damsel of 1916 when she is made up to look more like Brigitte Bardot...
Casting a professional magician as Judex enables the character to perform some impressive sleight-of-hand, and there are some subtle references to the original era, like the opening iris shot, the super-advanced (and supersized) antique surveillance gadgetry, and the title cards setting the various scenes. But perhaps the most impressive thing is that this is basically played entirely 'straight': it's not a tongue-in-cheek homage to pulp serials, it's presented in its own right as a piece of poetry for us to suspend disbelief -- a 1914 adventure of a mysterious caped avenger, an athletic, resourceful villainess, and a celestial innocent who sought to redeem her father's deeds.
The print in the BFI National Archive was in beautiful condition (save for some oversized and rather intrusive subtitling), and this film is visually and musically stunning; the Maurice Jarre soundtrack is lovely, fitting and eerie. The morality of the story -- despite its simplistic chase format -- is surprisingly grey, with Jacqueline the only pure innocent (and thus, alas, the least interesting character). It's hard not to sympathise with Favraux in his situation, despite everything that we learn, or with young Morales, caught between the ruthless woman he loves and his long-lost father, and Judex himself finds his self-appointed mission of punishment harder and harder to fulfil.
Scenes like the masked ball (shrouded in almost surreal mystery, since it is not until afterwards that we have any idea what was going on!) and the spider-like climb of Judex' minions to the roof are very memorable, while the film also has a nice line in self-deflating humour, courtesy of the fiction-obsessed detective Cocantin and his rapport with small children. For such a preposterous comic-strip confection the plot holds together quite well, although having displayed such crowning ineptitude in their first attempt to kill Jacqueline (and what happened to the original idea of questioning her first?), it's hard to understand why the plotters don't just make away with her immediately the next time they get the opportunity!
The one thing that really grated, as with all old historical dramas, was the very 'modern' hairstyles and make-up used on all the eye-candy characters in order to make them attractive to a contemporary 1960s audience -- the result now, of course, is that instead of appearing subconsciously appealing they appear distractingly out of period. It's hard to credit a swooning damsel of 1916 when she is made up to look more like Brigitte Bardot...
Casting a professional magician as Judex enables the character to perform some impressive sleight-of-hand, and there are some subtle references to the original era, like the opening iris shot, the super-advanced (and supersized) antique surveillance gadgetry, and the title cards setting the various scenes. But perhaps the most impressive thing is that this is basically played entirely 'straight': it's not a tongue-in-cheek homage to pulp serials, it's presented in its own right as a piece of poetry for us to suspend disbelief -- a 1914 adventure of a mysterious caped avenger, an athletic, resourceful villainess, and a celestial innocent who sought to redeem her father's deeds.