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.