Flesh and Fantasy is a 1943 American anthology film that weaves together three distinct, supernatural-tinged stories, all framed by a philosophical conversation between two club members about the nature of destiny and the reality of fortune-telling. The movie explores the central theme of whether human lives are dictated by fate or free will, and the profound impact that predictions and dreams can have on an individual's psychology and subsequent actions. This approach blends romance, suspense, and the eerie, making it an early, atmospheric example of the episodic storytelling format in cinema.
The three segments each showcase a unique encounter with the
uncanny. The first story, set during Mardi Gras in New Orleans, follows a
lonely, self-conscious young woman who yearns for a better life. She receives a
mysterious, beautiful mask from a strange shopkeeper and is allowed to experience the evening as someone transformed, but with a strict
condition that must be met by midnight. The second segment features a
skeptical, wealthy man who attends a party where a prominent palmist is making
uncannily accurate predictions for the guests. When the man insists on a
private reading, he receives a shocking prophecy that forces him to confront
his own sense of morality and control over his future.
The final tale centers on a high-wire circus aerialist known
for his dangerous, death-defying act. He becomes deeply unsettled after a
terrifying dream where he falls during his performance, the scene of his doom
forever imprinted with the image of a screaming, beautiful woman he's never
met. This premonition begins to erode his nerve until he unexpectedly
encounters the woman from his dream in real life, prompting him to try and
understand the connection between his inner fears and the external world, and whether
he can truly defy the fate he believes has been foretold.
The all-star cast directed by Julien Duvivier (1896 – 1967) includes
Charles Boyer, Barbara Stanwyck, Edward G. Robinson, Robert Cummings, and Betty
Field.
There was a fourth segment that was to star John Garfield,
but he dropped out and was replaced by Alan Curtis. The segment was well
received by preview audiences, but was cut from the film and expanded to a
full-length feature, Destiny 1944.
Betty Field and Robert Cummings
Click HERE to watch the movie on the Internet Archive.
Click HERE to join the online discussion on Monday, November
3, 2025, at 6:30 p.m. Central Time.
Discussion questions
- Free Will vs. Destiny: The film repeatedly raises the question of whether a person is master of their own fate or merely a puppet of destiny. In the second story, where Marshall Tyler is told he will commit murder, does the prophecy cause him to act, or does his reaction to the prophecy reveal an inherent flaw in his character?
- The Nature of Reality and Perception: Both the first story (Henrietta and the mask) and the third story (Paul Gaspar and the dream woman) explore how an individual’s perception of self influences the way the world treats them. How do the masks and dreams in these segments serve as a psychological tool for transformation, and to what extent is the supernatural aspect merely a catalyst for a change that was always possible?
- The Role of the Anthology Format: Flesh and Fantasy is an anthology film tied together by a brief framing device. Do you feel the three distinct stories collectively strengthen the film's central philosophical theme, or do they feel too disparate? Which story best explores the balance between "flesh" (human experience/desire) and "fantasy" (the supernatural/occult)?
- Influence of the Occult on Psychology: The film suggests that preoccupation with predictions—whether from a palm reader or a dream—can have a paralyzing or maddening effect on the characters. Compare Marshall Tyler's reaction to the murder prophecy with Paul Gaspar's reaction to his premonition of death. How do their psychological responses to the occult drive the plot in their respective stories?
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