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4.8/10
Senior Film Conservator
A definitive 4.8/10 rating for a film that redefined the boundaries of cult cinema. The Barber of Seville remains a cornerstone of transgressive art.
Honestly, you probably already know if you are the type of person who sits through black-and-white operatic films from the early thirties. If you love the source material, this is a fun, lighthearted curiosity. If you are looking for a fast-paced thriller, you’re going to be bored to tears within the first ten minutes. 🎭
André Baugé really carries the whole thing on his shoulders as Figaro. He has this massive, booming energy that makes the rest of the cast look like they’re just waiting for the bus. It’s almost unfair to the others, but it keeps the film from feeling like a museum exhibit.
The pacing is… well, it’s a bit bumpy. There are moments where the plot zips along, and then suddenly we’re just watching people stand around in period costumes for a solid minute while the music swells. It’s an odd choice, but it gives the movie a weird, stop-and-start pulse that I actually didn't mind.
I caught myself staring at the background extras more than once. There is this one scene where a servant is clearly trying not to giggle while the lead is beltin' out a high note. It’s those little, human slip-ups that make a movie feel real, you know?
It’s a far cry from the gritty tension in Fantômas: The False Magistrate, which is obviously a different beast entirely. While that one kept me on the edge of my seat with its shadow-drenched mystery, this version of The Barber is more like a warm glass of milk. It is comfortable, predictable, and occasionally hits a note that makes you sit up straight.
It isn't perfect. Some of the transitions between the dialogue and the songs feel like they were chopped together with a butter knife. But it has heart. It’s a bit of a relic, sure, but it’s a lively one. Just don't go in expecting it to change your life. It’s just here to sing a tune and keep the drama moving.
