There is something very special about unearthing a work of art that would otherwise be lost to time if not for a strong desire for cultural preservation. Such is the case for the 1967 feature directorial debut The Unknown Man Of Shandigor from Swiss filmmaker Jean-Louis Roy. The film premiered at the 1967 Cannes Film Festival before swiftly being all-but-lost to the world at large outside of a small run of DVDs in the past few years. Roy is a director who never made a huge impact on cinema, but, after viewing this work, there is a strong argument that he should have been given more opportunities to flex his prowess behind the camera. The film plays to the bolstered interest in spy thrillers as cultivated by James Bond, but it subverts the tropes by fully embracing nearly all of them and providing a clever, satiric bent. The nimble juggling of genres results in an effortlessly cool, wickedly funny spy tale that will make you grin like an idiot.
The film opens with a whirlwind of international press surrounding scientist Herbert Von Krantz (Daniel Emilfork, The City Of Lost Children) as they badger him with questions about his latest invention, a device that renders nuclear devices inert. While such a momentous invention should be cause for celebration, the combination of knowing that various governments want it for their own gain along with the fact that being a miserable bastard is his baseline, Von Krantz is not looking to share with the world. After firing off some retorts reaffirming his disdain for humanity, he absconds to his secluded villa where he lives with his assistant Yvan (Marcel Imhoff) and his lovely daughter Sylvaina (Marie-France Boyer), who he essentially keeps as a prisoner.
There are a litany of agencies around the world who are mobilizing to get what they need from Von Krantz. Multi-talented icon Serge Gainsbourg leads a French contingent as Le Chef des Chauves, a man of many noteworthy moments throughout this narrative, but who brings down the metaphorical house with a twisted rendition of “Bye Bye Mr. Spy” on an organ while an autopsy is being performed. That’s not to mention the aesthetically zany henchmen he has at his disposal known as “The Bald Heads,” who are learning to be masters of disguise. There is also the Russian operative Schoskatovich (Jacques Dufilho, A Full Day’s Work) with a secret lair and an American sector headed by Bobby Gun (Howard Vernon) who have their headquarters in a bowling alley.
As you can likely tell just from some of these small details, the movie has a zany sensibility that pokes gentle fun at the genre in a way that is very forward-thinking. You have a mad genius with booby traps around his house; you have secret lairs and fancy gadgets; you have double-and-triple agents. There is even room for Sylvaina to become a damsel in distress as she is kidnapped and held for ransom, a fact that limits her character somewhat, but her seemingly disposable nature is intentionally underscored by cheesy slow running towards an old flame (Ben Carruthers), the titular figure who is mixed up in the whole enterprise. Did we mention that Von Krantz also keeps a creature of unknown origin in his pool? You can pick out tropes from various movies, but only this film can juggle each one in a way that not only does not feel overstuffed, but deceptively cheeky.
One element that makes this effort stand out in addition to the peculiar tonal sensibilities is the visually dazzling canvas that Roy paints with the help of cinematographer Roger Bimpage. The film visits many varied locations from some of the aforementioned headquarters to a slew of different natural vistas and monuments, including some designed by famed architect Antoni Gaudi. Each location elevates this world to something more unforgettable and nearly beyond reason. The lovely black-and-white photography mesmerizes just as much as the peculiar score from Alphonse Roy. Every sensorial flourish is a considered choice made by the guiding hand of Roy which will stay with you long after the credits have finished rolling.
The spy genre was one that needed to evolve if it did not want to fade away into obscurity. While many filmmakers took this notion and missed the mark with their creative endeavors, Jean-Louis Roy found the perfect balance of surrealism, aesthetic purity and genuine thrills that makes a movie like The Unknown Man Of Shandigor such a powerhouse. It is a shame that this film was not more widely embraced upon its initial release, but maybe fifty-plus years later is the time when the film was fated to find its audience. The film is wonderfully absurd and well worth checking out if you are seeking something artistically daring and genuinely entertaining.
Video Quality
The Unknown Man Of Shandigor debuts on Blu-Ray in its original 1.66:1 aspect ratio with a 1080p master derived from a 4K restoration of the original 35mm camera elements by Cinémathèque suisse with extensive additional digital restoration by Craig Rogers of Deaf Crocodile. The only word to describe this presentation is beautiful. The striking photography which captures the varied locations sparkles in high definition with natural grain intact and nicely resolved. There is a fantastic amount of detail present with nice textures on the clothing, both in the fancy suits of the agents to the outfits of Sylvaina. The new transfer shows off a great amount of depth and enhanced detail both in close-up and long shots. There are certain elements of the makeup or production design that look quite striking in their clarity. Black levels are very deep with no trace of black crush or compression artifacts. The contrast is well defined, and there is virtually no print damage to be found outside a few minuscule stray moments. Deaf Crocodile has done a miraculous job with this transfer in a way that should make anyone who decides to pick up this obscure feature extremely happy.
Audio Quality
This Blu-Ray comes with an LPCM 1.0 mono track in the original Swiss French (with optional English subtitles). Dialogue sounds perfectly clear without sound effects or the score trouncing on important information. The film employs some unique sound effects in the form of gadgets in the lab that are given the appropriate presence within the mix. Mostly the film is more of a straightforward dialogue-driven mystery-drama without much in the way of action. The score comes through nicely in relation to the competing sounds. This is not a particularly dynamic presentation, but it presents everything accurately with pleasing fidelity and without damage or other unwanted issues.
Special Features
- Audio Commentary: Film journalist Samm Deighan delivers a really fantastic commentary track in which she discusses the lack of recognition for director Jean-Louis Roy, the difficult classification of this feature, the place of Swiss cinema in the larger culture, how the auteurs of this time were wanting to push the boundaries and conventions of cinema, the incredible visual world crafted within this work, the presence of Serge Gainsbourg and so much more that goes toward deepening your appreciation of this film.
- Trailer: A four-and-a-half minute trailer from Deaf Crocodile is provided here.
- Swiss TV Special “Cinema VIF”: A 29-minute restored archival special is provided here in which director Jean-Louis Roy discusses Swiss filmmaking and the struggle to get a film made, the performers explain how they got involved with the film, you get to see behind-the-scenes footage from the production, the creatives discuss the story and characters and much more. This is a unique bit of vintage material that is a really valuable addition to the set.
- Interview with Francoise Roy and Michel Schopfer: A 16-minute interview with Francoise Roy, wife of director Jean-Louis Roy, and Michel Schopfer, first assistant director on the film, in which they discuss first meeting Jean-Louis, their belief behind the genesis of the titular city, the performers in the film, his relationship with directors of the time, the tone of the film, the music of the film, the reception of the work and more.
- Booklet: A multi-page booklet is included in this release which features the essay “The Mysterious, Familiar, Yet Just Plain Strange Lineage Of The Unknown Man Of Shandigor” by author Chris D. which gives a great amount of context to the spy genre of the time along with professional details about the performers.
Final Thoughts
The Unknown Man Of Shandigor is a bizarre satire of spy thrillers which really grabs on to you from the very beginning and does not let go. The offbeat humor in this one is reminiscent of work that would be more widely embraced in subsequent decades, which makes this feature one that is ripe for rediscovery. The entire ensemble is impeccably cast in their roles, and the direction from Jean-Louis Roy is truly a wonder. Deaf Crocodile has released a terrific Blu-Ray in conjunction with Vinegar Syndrome which sports a top-tier A/V presentation and a nice assortment of special features. If you enjoy throwback spy movies but also appreciate a smart critique, this is the movie for you. Highly Recommended
The Unknown Man Of Shandigor is currently available to purchase on Standard Edition Blu-Ray or with a Limited Edition Slipcover exclusively through Vinegar Syndrome.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Deaf Crocodile and Vinegar Syndrome have supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
