In fact, In the Shadow of the Guillotine is so streamlined it doesn’t even bother with the first half of its source novel, Feuillade taking as read that he could cherry-pick which parts to dramatize and the viewer would fill in the blanks.
Souvestre and Allain kept up the pace until that September and the publication of the 32nd volume, La fin de Fantômas (“The End of Fantômas”), with Allain reviving the character in serialized form twelve years later – thanks in part to the continued popularity of the five Fantômas films Feuillade made in 1913-14.įeuillade’s films greatly condensed each of the novels in the series they tackled. Working by alternating chapters, they turned out Fantômas books at the rate of one a month, meaning 27 were on the stands by the time Louis Feuillade’s adaptation of the first was released in May 1913. A master of disguise and evil genius capable of pulling off all manner of diabolical deeds, Fantômas was the creation of French writers Pierre Souvestre and Marcel Allain. From the publication of his first adventure in February 1911, the character of Fantômas seemed tailor-made for the movies.
The titles are as macabre as the masked madman that appears in them.
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